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After the earthquake in April of 1906 she recreated her studio in Berkeley on Bancroft Way where she briefly shared her space with the “wood carver” Miss Mildred Holden.15 Two of Campbell’s first commissions were to design cover illustrations for The Courier, a weekly magazine in Berkeley, and art work for another journal, Western Tours.16 She was briefly a “staff artist” at the Overland Monthly which later published a very flattering biography of the artist with fine reproductions of her celebrity portraits.17 Of all of Berkeley’s female artists in this period she was by far the most socially dynamic and popular. Campbell was the first to publicize her studio with large conspicuous advertisements.18 She participated in major exhibitions throughout the East Bay, including the Fifth Annual of the Oakland Art Fund at the Starr King Fraternity in 1905.19 Her only portrait miniature to survive the destruction of her San Francisco studio, a “splendid” study of Elsa von Monderscheid, was given a place of honor at Berkeley’s 1906 Studio Building Exhibition.20 In 1906 Campbell contributed to the Inaugural Exhibition of the Carmel Arts and Crafts Club and to the California State Fair.21 At the State Fair in 1908 she won separate medals for the best sketch and the best painted miniature on ivory.22 Several of her miniatures attracted favorable attention at the San Francisco Arts & Crafts Association.23 In 1907 her portraits in miniature were selected for display at San Francisco’s Sketch Club and at the opening of the Del Monte Art Gallery.24 That year she also displayed miniatures at the Alameda County Exposition in Oakland’s Idora Park.25 According to Hanna Larsen of the San Francisco Call, the young Berkeley artist was expanding her artistic horizons, no doubt due to the impact of photography on the demand for miniatures:26 Miss Frances Soule Campbell has branched off into illustrative work and has been very successful. She had drawn a head of Joaquin Miller which is an idealized likeness and shows very poetic treatment. The picture was so popular that reproductions of it have been put on the market, and the poet himself is reputed to have been so pleased with it that he bought a whole bunch at once. Miss Campbell has not abandoned her miniature work, however. One of her latest portraits is of Miss Laura Van Wyck, the popular and beautiful girl whose tragic death is a matter of recent memory. Her two contributions to the 1907 Annual of the SFAA were not miniatures, but “extremely well done” portrait drawings in pencil of William Keith and Joaquin Miller.27 Both were sold during the exhibition. Campbell held a joint exhibition in February of 1908 with Mary Fancher Pettis in the parlors of the Oakland Club and displayed her portrait series of famous Californians.28 In conjunction with the convention of the California Federation of Women’s Clubs she served as co-curator and was an exhibitor at the show of California Women Artists at Oakland’s Ebell Club.29 Also in 1908 her portraits appeared in a rare Pacific Grove exhibition alongside the works of Mary DeNeale Morgan, William Adam, Anita Murray and O. V. Lange.30 To the Second Annual of the Berkeley Art Association she contributed portraits of seven famous Americans and one child.31 Her portrait of William Keith was immensely popular and exhibited repeatedly.32 She held displays at smaller venues, such as the Alta Mira Club of San Leandro, where her sketches were sold.33 In 1909 she exhibited at Berkeley’s Twentieth Century Club.34 Private galleries, including Rabjohn & Morcom in Oakland, showed her work.35 She was a sought-after speaker and once lectured on “modern” Russian painters at the prestigious Adelphian Club in Alameda.36 From the very beginning Campbell was involved in the formation of the Berkeley Arts and Crafts Society which eventually became the Studio Club. She was elected that organization’s “registrar” and actively supported the creation of the Berkeley Art Association.37 With K. FRANCES (Fannie/Fanny) SOULÉ CAMPBELL (1860-19??) Birdsall she was a co-founder of The Associated Studios, the successor to was born in September on a plantation in the Black Warrior Valley outside the insolvent Berkeley School of Art. Campbell, Birdsall and other artists of Mobile, Alabama. According to the U.S. Census of 1870 and 1880, she offered courses in painting, drawing, music, languages and vocal resided in Mobile with her Tennessee-born mother, Joanna, and her expression; the public art exhibition and musical program at the opening of Scottish-born father, James, who was employed as a river pilot.1 She its August 1909 term became a major social event.38 Frances was received her art education in New Orleans and at the Pennsylvania responsible for organizing The Associated Studios’ “cultural evenings” Academy of Fine Arts. She moved to San Francisco from Washington D.C. which included drama and music as well as exhibitions.39 Their facilities at in 1895, established a studio-residence at 808 Van Ness Avenue and 2523 Hillegass Avenue also provided her with a second atelier where she eventually an independent atelier at 1114 Post Street.2 Miss Campbell held private receptions and taught advanced courses in miniature soon relocated to 1243 Leavenworth Street and then to 231 Post Street, painting.40 According to the U.S. Census of 1910, this address was also the former loft of Edwin Deakin.3 From the U.S. Census of 1900 we learn the residence for several of her friends who were listed as “boarders.”41 that her mother resided with Frances.4 Her studio became a popular venue What fascinated Berkeleyans and San Franciscans were for local artists. By or before 1904 she moved her residence to the home of Campbell’s commissioned portraits of American celebrities which included her close friend, Sally Daingerfield, at 2630 Bancroft Way in Berkeley and Theodore Roosevelt, Ambrose Bierce, Joaquin Miller, President Taft and joined the Oakland Art Fund.5 She was socially active in San Francisco Mary Baker Eddy. Eddy was especially impressed with the original pencil and in 1905 served as a “maid of honor” at the San Francisco convention of drawing, which she received from the artist, and permitted its display at the the Daughters of the Confederacy.6 Idora Park Arts and Crafts Exhibition in the fall of 1908.42 Of this exhibit In 1897 she exhibited two works, each entitled Ideal Head, at Lucy Jerome, art critic for the San Francisco Call, observed: “Miss the Mechanics’ Institute Fair.7 Campbell contributed her portrait miniatures Campbell seems to have seized the very soul of her subject and retained it to the San Francisco Art Association (SFAA) from 1900 to 1907 8 and to in her studies.”43 She was so highly regarded that when she traveled to the California Society of Artists in 1902.9 In December of 1903 she and Carmel or the Russian River on “sketching vacations,” it was reported in Hallie Irwin held a joint display of miniatures at the Annual Exhibition of the local newspapers as an item of great interest.44 Likewise, there was a Guild of Arts and Crafts in San Francisco’s Palace Hotel.10 Campbell collective sense of relief in the East Bay press when it was announced that contributed “a case of miniatures” in May of 1905 to the Wallace Johnson her trip to Europe had been “deferred.”45 One of the highlights of her exhibition in Carmel where she often visited.11 She exhibited in December career was the solo exhibition of her portraits in January of 1910 at San her “small portraits” at the Annual of the Guild of Arts and Crafts in the St. Francisco’s Fairmont Hotel where her rendering of Cardinal Newman was Francis Hotel.12 The following spring the Guild sent a selection of her especially praised by critics.46 Due to her popularity she was elected in miniatures to Los Angeles for display.13 At this time she also exhibited at 1909 and 1910 the Alameda County District Chairman of the Art Daingerfield’s San Francisco studio.14 Department of the California Federation of Women’s Clubs.47 Even her 352

“artistically arranged” studio was the subject of a special feature in the exhibition of paintings and was regarded in the press as one of the region’s Sunday Oakland Tribune.48 most important miniature painters.7 That summer Rose and her sister With the decline in the number of paying students, Campbell relocated their studio and residence to 659 Clay Street in San Francisco.8 and the other artist-teachers at The Associated Studios reluctantly closed In February of 1907 an article in a local Berkeley newspaper noted that that facility in late May of 1910.49 Her last known exhibition in the East Bay “Miss Rose Campbell,” a “talented” painter of miniatures on ivory, was a was in February of that year at the Alameda District Federated San Franciscan who migrated to Berkeley immediately after the earthquake Convention.50 The rapid deterioration of Berkeley’s art colony and the of 1906.9 The paper also mentioned the impending opening of her paucity of private students decided her on a “stay in the East . . . of an Berkeley studio. The Directory gave her Berkeley address as 2486 indefinite length.” In New York she hoped to find publishers willing to Shattuck Avenue; she contributed to the First Annual Exhibition of the purchase her work.51 Apparently, she never returned to Berkeley. In the Berkeley Art Association in 1907.10 She left the University town in late summer of 1912 a Berkeley weekly reported that Campbell has “won fame 1909 to study theatre arts in New York and in July of 1911 The Oakland . . . in New York with the completion of the head of Abdul Baba of the Tribune made the following announcement:11 Baha’i faith . . . the portrait was drawn from life . . . and [Campbell] is Miss Rose L. Campbell . . . well known in the local art working on a series of “Beauties” for well-known magazines – she longs to colony, who gave up her work to go on the stage, has been engaged return to Berkeley.”52 Her first New York City address was 509 West One by the English actress, Constance Crawley, to play opposite her in Hundred and Twenty-first Street; by 1915 she relocated her studio to 33 the Crawley Company. . . . She recently completed a year’s study in West Forty-second Street.53 In February of 1915 she made legal history New York City, and, with Miss Crawley, will tour Canada and the New when she sued the Alfred S. Campbell Art Company for making inferior England states this fall, later playing in the West Indies. reproductions of her portrait of Mary Baker Eddy. She claimed that its She apparently abandoned her stage career by 1915 and returned to art. artistic value had been compromised. The New York State Supreme Court Rose reportedly took classes at the Art Students League in and a Federal Appellate Court confirmed her right to sue for aesthetic New York City and had private instruction with Henry Rittenberg.12 In New damages.54 For the Woodrow Wilson Foundation she created in 1921 the York she married William (Will) Campbell. The couple traveled for seven official portrait of President Wilson which was reproduced in newspapers years in Central and South America where she was frequently across the country.55 According to the U.S. Census of 1920 and the U.S. commissioned to paint miniatures of government ministers and embassy Census of 1930, she resided in Manhattan as a “lodger,” remained officers; she made copies of these for later display. In December of 1925 unmarried and listed her occupation as “portrait-commercial artist.”56 Little Rose exhibited two of her miniatures at the Pan American Exhibition in the is known of her life thereafter.57 Los Angeles Museum which purchased one of her paintings.13 The ENDNOTES FOR F. CAMPBELL: 1. U.S. Census of 1870 [ED 8th Ward, Sheet Campbells arrived in Carmel during the early summer of 1927 and 136]; U.S. Census of 1880 [ED 144, Sheet 5]. / 2. MHR, December, 1899, p.35; purchased a bungalow. In July she staged an “exhibition of Incan Crocker: 1896, p.364; 1897, p.1859; 1898, p.1812. / 3. Crocker: 1900, p.1882; 1902, handicrafts,” including Peruvian shawls and rugs, at Sally’s in Carmel.14 A pp.389, 1958; 1904, p.2024; 1905, pp.400, 1999; MHR: September, 1900, p.42; month later she displayed several of her miniatures at the First Theatre of Summer, 1904, p.34. / 4. U.S. Census of 1900 [ED 259, Sheet 1]. / 5. TOT, February 20, 1904, p.5. / 6. SFL, October 4, 1905, p.1. / 7. Halteman, p.II.43. / 8. Ibid., California in Monterey and at the Carmel crafts show in the Arts and Crafts 15 p.I.121; TAT, December 31, 1900, p.14; MHR, June, 1902, p.18; SFC: December 25, Hall. Rose attended the first meeting of the Carmel Art Association (CAA) 1900, p.10; March 31, 1905, p.9; SFL: December 14, 1900, p.9; November 20, 1904, on August 8, 1927 and contributed to its Inaugural Exhibition that p.19; November 27, 1904, p.19; March 31, 1905, p.9; November 15, 1905, p.19; October.16 She executed drawings of many “classic” Carmel storefronts, November 26, 1905, p.19. / 9. MHR, June, 1902, p.22. / 10. SFC, December 11, cottages and local sights as illustrations for The Carmelite and the Carmel 1903, p.8. / 11. SFC, May 22, 1905, p.7. / 12. SFL, December 7, 1905, p.2. / 13. Pine Cone.17 She was frequently commissioned to sketch private LAT, April 15, 1906, p.6-2. / 14. BDG, April 12, 1906, p.5. / 15. TCR, November 10, 18 1906, p.13;TSL, November 24, 1906, p.3; BDG, November 27, 1906, p.5; Polk: 1907, residences, patios and gardens on the Peninsula. The Campbells p.1545; 1908, p.1245; 1910, p.992; AAA 7, 1909-10, p.105. / 16. BDG, November 14, appeared in the local society pages with reports on their participation in 1906, p.6. / 17. OVM 52, 1908, pp.80-88. / 18. TCR: December 8, 1906, p.13; San Francisco’s cultural life and kennel club activities related to their Borzoi December 5, 1908, p.14. / 19. Schwartz, Northern, p.48; TOT, March, 3, 1905, p.7. / hound.19 20. Appendix 1, No.1; for this event The Oakland Tribune reproduced a photograph of According to the U. S. Census of 1930, Rose Campbell owned Miss Campbell: TOT, December 2, 1906, p.16. / 21. Appendix 2; BDG: July 17, 1906, her own home on 303 Torres Street between Fifth and Sixth Avenues in p.5; August 21, 1906, p.5. / 22. TCR, October 10, 1908, p.14. / 23. TCR: December 20 22, 1906, p.13; March 30, 1907, p.13. / 24. Schwartz, Northern, p.48; SFL, February Carmel. That year she spent five months in Glendale and returned to 21 25, 1907, p.6; TCR, April 2, 1907, p.13; SFX, April 21, 1907, p.43; TOT, April 27, 1907, Carmel in October. In December of 1932 her work was hung at the p.10. / 25. TCR: August 31, 1907, p.14; September 28, 1907, p.14; BDG, September CAA’s Black and White Exhibition and a year later she contributed to the 2, 1907, p.5. / 26. SFL, February 4, 1907, p.5. / 27. SFL, November 15, 1907, p.2; Inaugural Exhibition at the new CAA Gallery.22 She donated one of her Halteman, p.I.121. / 28. TCR: January 11, 1908, p.17; February 15, 1908, p.10; TOT, drawings in January of 1934 to the CAA benefit exhibition-raffle in support February 20, 1908, p.7. / 29. TOT, May 20, 1908, p.9; May 29, 1908, p.7; June 30, of the Association’s Gallery.23 Rose Campbell died in San Francisco on 1908, p.18; TCR, May 30, 1908, p.14. / 30. MDC, July 7, 1908, p.4. / 31. Appendix 1, 24 No.3. / 32. Cornelius, vol. 1, pp.464, 497. / 33. BKR, November 10, 1908, p.5. / 34. January 27, 1964. TCR, March 20, 1909, p.14. / 35. TCR, February 20, 1909, p.14. / 36. BDG, ENDNOTES FOR R. CAMPBELL: 1. U.S. Census of 1880 [ED 87, Sheet 22]; November 15, 1909, p.5; TCR, November 20, 1909, p.14. / 37. BDG: April 8, 1907, TOT, July 26, 1911, p.12. / 2. U.S. Census of 1900 [ED 372, Sheet 6A; TOT, April 8, p.3; April 26, 1907, p.1; TOT: April 9, 1907, p.15; April 28, 1907, p.35; TCR: April 20, 1901, p.8. / 3. TAT: May 23, 1898, p.14; May 22, 1899, p.14; SFL, May 20, 1900, p.22; 1907, p.13; May 4, 1907, p.13. / 38. TOT: August 10, 1909, p.15; August 13, 1909, SFC, May 20, 1900, p.18; Halteman, pp.I.43. / 4. Halteman, p.I.121; SFL, March 14, p.17; August 14, 1909, p.17; August 15, 1909, pp.9, 29; August 19, 1909, p.7; August 1902, p.9; SFC, November 20, 1903, p.9. / 5. Halteman, p.III.36. / 6. TOT, December 20, 1909, p.8. / 39. BDG, August 19, 1909, p.5. / 40. SFL, October 3, 1909, p.I.6; 5, 1902, p.4; SFL, December 5, 1902, p.13. / 7. SFL, January 18, 1903, p.11; MHR, BDG, October 20, 1909, p.5; Polk 1910, p.1319. / 41. U.S. Census of 1910 [ED 64, Summer, 1903, pp.35f. / 8. Crocker: 1904, pp.396, 2024; 1905, pp.402, 1999; MHR, Sheet 12B]. / 42. TCR: October 10, 1908, p.14; October 17, 1908, p.14; SFL, January Christmas, 1903, p.34; Summer 1904, p.34. / 9. BDG, February 19, 1907, p.5. / 10. 3, 1909, p.31. / 43. SFL, October 25, 1908, p.31. / 44. BKR: July 17, 1906, p.6; Polk 1909, p.1012; Appendix 1, No.2. / 11. TOT, July 26, 1911, p.12. / 12. CRM, September 6, 1906, p.7; BDG: September 18, 1906, p.5; August 4, 1910, p.5; SFL, February 29, 1928, p.7. / 13. CPC, August 5, 1927, p.5. / 14. CPC: July 15, 1927, June 24, 1907, p.7; TCR, May 25, 1907, p.11. / 45. TOT, August 20, 1906, p.5; BDG, p.14; August 12, 1927, p.6. / 15. CPC: August 5, 1927, p.5; August 19, 1927, p.6. / September 6, 1906, p.5. / 46. TCR, January 8, 1910, p.12. / 47. TOT: June 30, 1909, 16. TOT: September 11, 1927, p.6-S; October 30, 1927, p.8-M; Appendix 4. / 17. p.8; July 1, 1909, p.10; February 7, 1910, p.5; February 17, 1910, p.8. / 48. TOT, CRM: February 29, 1928, p.2; September 18, 1930, p.1; CPC: April 6, 1928, p.1; February 13, 1910, p.6. / 49. BDG, June 3, 1910, p.5. / 50. BKI, February 22, 1910, December 14, 1928, p.15. / 18. CRM, February 29, 1928, p.7. / 19. CRM, October 2, p.8; TCR, February 26, 1910, p.8. / 51. BDG, December 1, 1910, p.4; TCR, December 1929, p.2; CPC, October 23, 1931, p.14. / 20. U.S. Census of 1930 [ED 27-21, Sheet 3, 1910, p.14. / 52. TCR, August 10, 1912, p.4. / 53. Trow’s & Polk’s, Manhattan and 11B]; Perry/Polk 1930, p.424. / 21. CPC, October 17, 1930, p.14. / 22. Appendix 4. / Bronx City Directory: 1912-13, p.230; 1915, p.2285. / 54. NYT, February 27, 1915, 23. CSN, Jan. 11, 1934, p.1. / 24. California Death Index; cf., Hughes, p.188; p.18. / 55. E.g., The Davenport Democrat and Leader (Iowa), January 17, 1922, p.6. / Jacobsen, p.531. 56. U.S. Census of 1920 [ED 734, Sheet 12B]; U.S. Census of 1930 [ED 31-261, Sheet 6A]. / 57. Cf., Hughes, p.188; Falk, p.554; Petteys, p.118. KATE CAREW (Mary Williams, Davison, Chambers, Reed) (1869-1961) was born on June 27th in Oakland, California, and given the ROSE LILLIAN CAMPBELL (1879-1964) was born on March name Mary Williams. Her mother, Virginia Gluyas Williams, was a 11th in Redding, California, and resided with her Scottish-born parents, two descendant of Cornwall migrants and her father, Robert Neil Williams, was sisters and three brothers; her father, D. Campbell, was a mining engineer a real estate agent.1 According to the Directories of 1869 and 1870 they in Butte County.1 Between 1896 and late 1899 Rose and her sister, the lived in what is now downtown Oakland on the Wilcox Block between artist and dressmaker Jessie G. Campbell, resided in Berkeley at 2613 Eighth and Ninth Streets.2 Mary Williams was one of six children in an College Avenue; thereafter they moved into rented quarters on Broadway artistically inclined family. Her formal training in art began at San Avenue in Oakland.2 After four years of study Rose graduated in 1900 Francisco’s School of Design under Arthur Mathews who painted a portrait from the Mark Hopkins Institute of Art where she trained under Alice of the redheaded Mary; among her classmates were DeNeale Morgan, Chittenden, Arthur Mathews, Raymond Yelland, Amédée Joullin, and Louise Carpenter, Evelyn McCormick, Josephine Blanch and Xavier Charles Judson. During her tenure she received a scholarship of free Martinez.3 In 1889 she joined other students on an outing to Monterey tuition, an honorable mention in drawing for the antique class and an award where she painted portraits of the “reserved Spanish families.”4 She was in painting.3 Between 1901 and 1905 she exhibited her miniatures, still awarded the School of Design’s “special medal for excellence in painting” lifes and a sketch entitled Street in Capitola at the San Francisco Art at the San Francisco Art Association’s (SFAA) 1891 winter Annual.5 The Association.4 Her work, including such titles as Study in the Forest and San Francisco Call reproduced a sketch of Mary Williams’ still life and Grapes, appeared at the California State Fair in 1901 and 1902.5 One of noted that she has “a number of pictures, of which the best is a bunch of her earliest exhibitions in the East Bay was at the 1902 Annual of the yellow roses, effectively handled without resort to art trickery or Oakland Art Fund sponsored by the Starr King Fraternity.6 That year the complementary contrast in the background.”6 In addition to her Roses, two Campbells apparently had two Oakland residences: 211 Twelfth Street and of her other paintings at the Annual were singled out as “praiseworthy 416 Seventeenth Street. At the latter in early 1903 she staged an contributions:” Fish on Slab and a canvas of “Grapes and oil flask, jars and 353 bandanna, both showing strong coloring.”7 She habitually donated one of family for a stay of several months. At this time she exhibited over two her works to the SFAA lottery as payment for her annual dues to that dozen caricatures, including President Woodrow Wilson, Mark Twain, Bret organization.8 As late as 1895 she exhibited portraits and still lifes at the Harte and Ethel Barrymore, at the Del Monte Art Gallery and received this SFAA and California State Fair in Sacramento with such titles as: Arranging review from Anna C. Winchell, art critic for the San Francisco Chronicle:35 the Chrysanthemums, Sketch of Sue Ching, Study of Violets and Gold of Miss Carew’s genius in this special branch of art is such Ophir Roses.9 During the State Fair of 1891 she received twenty dollars, a that she has gained great distinction and is often referred to as silver medal “for the most meritorious art display” in her class and praise for “America’s Max Beerbohm.” The inner significance of this type of her still life of Quinces.10 At that same venue in 1893 Mary was awarded a expression is a fine subtle thing. It is not always appreciated by the silver medal for the best human figure in oil and a year later her “flower laity, in a word, but caricature is more than mere humor; rather an piece” was commended “as delicate in handling, well drawn and finished in emanation of the “sixth sense,” which utters the essence of things execution.”11 From 1894 to 1896 she was an exhibiting member of the San and presents a meaning of which other mediums in art are often Francisco Sketch Club.12 Years later she had instruction in art at the incapable. Chase School in New York City and at the Académie Colarossi in Paris. The exhibition closed on February 15th amid large crowds.36 Soon In the early 1890s she married the New Jersey-born Seymour thereafter Carew sailed with her son and husband for England to accept Chapin Davison, an adjustor for Fireman’s Fund Inc. The Davisons had the position of “art editor” for The Tatler’s new theatrical magazine, Eve. addresses in Oakland and San Francisco; they apparently established She quickly tired of post-war London, in part due to an eye and wrist injury, another residence in St. Helena by 1892-93.13 On May 8, 1897 her and made plans to sketch in Paris before moving back to the States.37 husband died in San Francisco at the age of thirty.14 Shortly thereafter she Carew returned to New York City in January of 1921 with her family and was hired on the recommendation of Ambrose Bierce to be a staff illustrator arrived in Carmel by April.38 When she and her husband found it for “portrait sketches” at the daily San Francisco Examiner.15 Here she impossible to lease a “suitable house,” she briefly rented the E. Charlton associated with a number of prominent artists, including Virgil Nahl and Fortune studio in Monterey.39 That fall she applied for a new passport to Maynard Dixon. In December of 1897 she performed the role of La Tosca travel through Western Europe on “personal business.”40 The gaunt figure in one of the tableaux vivants at a benefit for the Men’s Home.16 The in her passport photograph looked far older than her actual age. Through following June she helped to organize the Benefit Art Exhibition for the Red much of the 1920s and 1930s the couple resided on Guernsey in the Cross Society.17 She exhibited with the “newspaper artists” in May of 1899 Channel Islands and in France. During her absence the Carmel Pine Cone at the Alameda Teachers’ Club Art Exhibition.18 Her employment at the named her, along with Mary DeNeale Morgan, Jennie V. Cannon, Mary Examiner was terminated several months later when photoengraving Herrick Ross, Elizabeth Strong and seven others, one of the “Twelve replaced many of the staff artists. One of her last commissions was to Women Who Have Helped Immortalize Carmel.”41 complete twelve “striking illustrations” for The California Girl Calendar.19 In In June of 1938 she and her husband arrived in San Francisco 1899 Mary Williams Davison left California to “study” in New York; she sent via the Panama Canal and a month later they were searching for a illustrations of “American women taken from New York models” to be permanent home with a “suitable studio” in Carmel; they established a reproduced as color plates in the Call.20 Her father took Mary to Europe.21 temporary residence at the Mission Inn.42 The Carmel press gleefully She established her residence in New York City, opened a repeated Kate’s comments on the literary tastes of the English and related studio on Twenty-fourth Street and under the pseudonym “Kate Carew” the humorous story of her encounter with Jimmie Hopper at the end of drew caricatures of theatrical celebrities, such as John Drew, for several World War I.43 In mid August the Pine Cone ran a full-page feature article newspapers. Soon she wrote revealing “biographical interviews” to on Carew who recounted her early years in California, including her first accompany her portraits for both the Evening World and Sunday World; visit to the Peninsula in 1889.44 She spent the summer of 1939 in among her many subjects were: Mark Twain, James R. Keene, Arthur Monterey’s “Old Wooden House” and the remainder of that year in Carmel Pearson, President Theodore Roosevelt, Speaker of the House Joseph where her recent sketch of Robinson Jeffers was said to capture his “cold Cannon, Charles Dana Gibson, Sarah Bernhardt, and Richard Crocker, the clear eyes;” her husband’s ill health in 1940 forced the couple briefly to “chieftain” of Tammany Hall.22 Some of her pieces, such as Sir Thomas relocate to St. Helena for medical treatment.45 When they moved back to Lipton’s views on J. Pierpont Morgan, were dispatched to the Los Angeles the coast, they leased in Carmel “Tall Timbers,” the home of artist Alice B. Times.23 According to the U.S. Census of 1900, this widowed “artist” lived Comins. His relapse compelled their return to the St. Gotthard sanatorium in Manhattan at 21 West Twenty-fourth Street and listed her year of birth as in St. Helena. John Reed died there on June 25, 1941. She returned to 1871.24 In 1901 she married the Australian journalist and playwright, Henry Monterey in March of 1943 and took rooms at the Mission Inn where she (Harrie/Harry) Kellett Chambers, whom she divorced ten years later for his was interviewed by the Pine Cone about her early work as a sketch artist.46 philandering with the seductive Mexican writer, Maria Cristina Mena; That April she purchased the former Monterey home of Lucy V. Pierce at Carew, who received an award of alimony, was philosophical: “Sometimes 954 Mesa Road and devoted herself to seascapes and landscapes.47 people outlive their usefulness, one to another. They should accept Some highlights of Carew’s exhibition record include the: anyway, whatever comes along.”25 On September 12, 1910 she gave birth World’s Columbian Exposition of Chicago in 1893, California Midwinter to a son, Colin Chambers. Styling herself as the “only woman caricaturist” International Exposition in 1894 and Salon des Artistes of Paris in 1924 and she was sent to Europe in 1911 by the Sunday World to sketch the series, 1928.48 At the Salon in 1928 her submission was entitled Farm at “Kate Carew Abroad.” Her interviews, which included Pablo Picasso, Bret Hyeres.49 Kate Carew died on February 11, 1961 at the age of ninety-one Harte, John Galsworthy, Lady Sackville-West, Émile Zola, Edwin Gordon in a Pacific Grove rest home and was buried in Oakland.50 Her younger Craig, Count Leon de Tinseau, Isadore de Lara, Ruggero Leoncavallo, and brother, Gluyas, began in 1922 his own nationally syndicated daily comic Winston Churchill’s mother, also appeared in the New York American, New strip and later became one of The New Yorker’s great cartoonists.51 Two of York Herald and the New York Tribune. After a brief return to New York her older brothers were also professional artists. she moved to London and worked for The Tatler and The Patrician. In ENDNOTES FOR CAREW: 1. CSM, January 6, 1951, p.MS-10. / 2. Polk: 1869, December of 1913 she fell seriously ill, underwent surgery and was p.243; 1870, p.144. / 3. Jones, Mathews, p.39; CPC, January 14, 1944, p.3. / 4. CPC, eventually sent back to the United States to recuperate and to avoid the August 19, 1938, p.8. / 5. SFL, December 13, 1891, p.2; Halteman, p.I.64. / 6. SFL, vicissitudes of World War I which began in the summer of 1914.26 December 11, 1891, p.2. / 7. SFL, December 12, 1891, p.8. / 8. SFL, June 27, 1895, p.9. / 9. Halteman, pp.I.140, III.46. / 10. SDR: September 9, 1891, p.5; September 18, While conducting celebrity interviews in Hollywood for the 1891, p.5. / 11. SDR: September 13, 1893, p.6; September 12, 1894, p.5. / 12. SFL: London Strand, Carew met and married the British-born John Alphonsus May 8, 1894, p.9; November 18, 1896, p.8. / 13. Crocker: 1891, p.440; 1892, p.452. / Reed on November 14, 1916 in Los Angeles.27 The following spring she 14. SFL: May 10, 1897, p.9; May 11, 1897, p.13. / 15. CPC, March 19, 1943, p.3. / exhibited with the American Newspaper Cartoonists in Syracuse, New 16. SFL, December 1, 1897, p.5. / 17. SFL, June 12, 1898, p.7. / 18. ADA, May 18, York, and moved with her husband to Carmel where they initially occupied 1899, p.1. / 19. The San Francisco Call reproduced one of these drawings, A Daughter the guest house of Rev. Charles Gardner on Santa Lucia Avenue near of the Soil: SFL, November 25, 1900, p.12. / 20. SFL, December 30, 1899, p.6. / 21. 28 CPC, March 19, 1943, p.3. / 22. NYT, October 27, 1900, p.1; The World: November Mission Carmel. She became a member of Arts and Crafts Club and 23, 1900, pp.2, 4; December 8, 1900, p.1; May 20, 1901, p.7; June 15, 1901, p.4; contributed to its Winter Exhibition of Paintings in 1917 and to the Annual February 1, 1902, p.12; June 1, 1903, p.7; June 27, 1903, p.1; CPC, March 19, 1943, Exhibitions in 1918 and 1919.29 At the Club in 1918 she exhibited p.3. / 23. LAT, June 28, 1903, p.1. / 24. U.S. Census of 1900 [ED 682, Sheet 4A]. / seascapes and “caricature” portraits of Marie Tempest, Lady Alexander 25. TOT, March 21, 1912, p.12; NYT: March 21, 1912, p.20; September 6, 1935, p.17. / Colebrooke and Mrs. Benjamin Guinness. Aside from her professional 26. The Syracuse Herald: October 19, 1912, p.1; October 20, 1912, p.19; October 27, work as an illustrator, she painted landscapes. Carew occasionally visited 1912, p.16; November 3, 1912, p.16; November 14, 1912, p.1; NYT: December 15, 1913, p.1; January 16, 1914, p.3. / 27. LAT, October 22, 1916, p.3-23. / 28. The San Francisco where she sketched portrait commissions for The Tatler. In Syracuse Herald, March 11, 1917, p.22; CPC: November 15, 1917, p.1; August 19, the fall of 1918 she held her first solo exhibition at the Del Monte Hotel Art 1938, p.8. / 29. Appendix 2. / 30. SFC, July 7, 1918, p.E-3; CPC, August 1, 1918, p.1. Gallery.30 The Reeds resided “in an attractive part of Carmel” until June of / 31. SFC, June 15, 1919, p.E-3; CPC, June 19, 1919, p.3. / 32. U.S. Passport 1919, when they leased the old Boronda-Parke adobe on Sherman Lane in Application No.125342, issued on October 6, 1919 in San Francisco. / 33. NYT: Monterey for five months.31 Among its former tenants were Lee Randolph October 12, 1919, p.42; October 15, 1919, p.20. / 34. SFC, November 30, 1919, p.E-5. and William Ritschel. On October 6th she applied for a passport to pursue / 35. SFC, February 1, 1920, p.E-3. / 36. LAT, February 1, 1920, p.3-4; CPC, February 5, 1920, p.1. / 37. SFC, November 14, 1920, p.S-11; CPC, November 18, “employment” in England and was described as five feet three inches tall 1920, p.4; MPH, July 13, 1943, p.6. / 38. NYT, January 4, 1921, p.13. / 39. CPC, April 32 with hazel eyes, dark brown hair and a “flushed” complexion. The official 21, 1921, p.1. / 40. U.S. Passport Application No.82776, issued on September 14, witness on the application was none other than the artist Virgil Nahl; Carew 1921 in San Francisco. / 41. CPC, May 4, 1934, p.12. / 42. CPC: July 29, 1938, p. 14. claimed that her year of birth was 1872. A few days later she returned to / 43. CPC, August 5, 1938, p.13. / 44. CPC, August 19, 1938, p.8. / 45. CPC, August New York City where she acted in the melodrama The Luck of the Navy.33 25, 1939, p.9; U.S. Census of 1940 [ED 28-20, Sheet 81B]. / 46. CPC, March 19, John Reed permanently closed their Monterey home before Thanksgiving 1943, p.3. / 47. MPH, July 13, 1943, p.6. / 48. DPT, May 16, 1928, p.9. / 49. The 34 Syracuse Herald, May 13, 1928, p.1-4; SLT, May 20, 1928, p.11; LAT, July 24, 1928, and then joined his wife. She “temporarily deferred” her plans to sail to p.2-4. / 50. MPH, February 13, 1961, p.6; California Death Index; cf., Kovinick, p.350; London after Christmas and returned to Carmel in January of 1920 with her Falk, p.2726; Jacobsen, p.540; Hughes, p.192; Petteys, p.588; Maurice Horn, Women 354 in the Comics, New York, 1977. / 51. TOT, September 11, 1922, p.9; CSM, January 6, . . . . is another artist who excels in flowers. Her 1951, p.MS-10; The New Yorker, February 9, 1998, pp.56-59. Chrysanthemums from Nature is one of the most admired flower pieces in the gallery. It requires considerable skill to bring good ELEANOR MAJORS CARLISLE (1864-1932) was born in effects out of a blending of white and yellow flowers with only a dash Nebraska City, Nebraska, to a prominent pioneer family. Her father, of red to give warmth, but . . . [they] are a triumph of this order. Alexander Majors, was one of the founders of the Pony Express. She Her gold-medal painting, Tokay Grapes, and two other studies were moved to Berkeley in the mid 1880s with her husband, Albert, and they 1 selected for exhibition at the 1893 World’s Columbian Exposition in eventually settled in a Berkeley home at 2327 Vine Street. Albert owned a Chicago.7 That May at the Inaugural Exhibition in the Mark Hopkins successful San Francisco printing business, A. Carlisle and Company. Institute of Art she exhibited her “study of Glazenwood roses.”8 She Their six children – Alma, Burlington, Helen, Catherine, Alexander and contributed to the exhibitions at the Mechanics’ Institute Fair from 1893 to Albert Jr. – were listed in the U. S. Census of 1900 and appeared as 2 1897 and at the San Francisco Art Association (SFAA) between 1893 and “students” in the local Directory. With the death of Albert Sr. in 1904 1916.9 Her work appeared at the California Midwinter International Eleanor returned to her painting as a full-time career. She reportedly had Exposition in 1894.10 At the 1895 spring Annual of the SFAA her California formal art training in San Francisco and continued with her lessons Pumpkin Field, which was grouped among the best paintings for the thereafter at the home of William Keith. She was an early proponent for members’ drawing, was said by one critic to be “good as to pumpkins, but “artistic dwellings,” a local euphemism for homes that leave the landscape 11 3 she also wants to study trees more.” At that same Annual she exhibited of the Berkeley hills unharmed. Mrs. Carlisle was also an art collector who My Neighbor’s Garden. Carpenter was active socially in the SFAA.12 At lent her California paintings and “Oriental art treasures” to East Bay her early exhibitions with the Mechanics’ Institute and SFAA most of her exhibitions.4 She periodically traveled to China to collect art. She exhibited subjects were still lifes, flower arrangements, trees and ducks. These were her own work locally at the Studio Building Exhibition in 1906 and Third 5 eventually supplemented with landscapes of the Sierras, the Monterey Annual of the Berkeley Art Association (BAA) in 1909. Carlisle was Peninsula, Washington State, British Columbia and New Orleans. Three of extremely active in supporting and organizing exhibitions.6 Eleanor chaired her five submissions to the 1897 Mechanics’ Institute Fair were entitled: the committee in charge of oil paintings at the Second Annual of the BAA. Salmon Drying on Puget Sound, Sketch of Alameda and California She was one of the primary movers in the formation of the BAA and was Poppies. In 1894 one of Carpenter’s sketches along with a short biography the only artist to be included among its top “elected officers;” first as 7 on the artist appeared in the Christmas edition of The San Francisco News treasurer and then as vice-president. In addition, she was in the forefront 13 8 Letter. This was followed a decade later in the same publication with of an organization to put art in the local schools. Eleanor was also a reproductions of her sketches from British Columbia.14 Her paintings popular figure on the society pages and was interviewed for her opinions 15 9 appeared at the Mechanics’ Pavilion in 1905. on the state of education in public schools. Outside of San Francisco she frequently exhibited her With the decline of the Berkeley art colony the highly articulate watercolors and oils. In Sacramento she was a regular contributor to the Mrs. Carlisle turned her attention increasingly to local politics. She was California State Fair between 1890 and 1899.16 Her canvas entitled elected to the Berkeley Board of Education in 1909 as its first woman and 10 Grapes at the 1894 State Fair was called “one of the strongest fruit pieces her efforts for reform faced constant opposition. During her bid for we have seen . . , and this is with some of Deakin’s fine work in mind;” her reelection she gave a “sensational speech” in which she bluntly declared Curio Study was characterized as “an attractive canvas.”17 A year later at her opponent to be part of the male-dominated “political machine” that 11 the Fair critics declared her Duchesse Roses and Chrysanthemums to be opposed her independent thinking. The women of Berkeley rallied to her “superior.”18 Three of her paintings at the 1898 Fair received a campaign as did some of the local newspapers and she easily won complimentary mention in the press.19 From 1895 to 1898 she contributed reelection.12 She retired from the school board in 1913 for “reasons of 13 to the art displays at the Oakland Industrial Expositions; The Oakland health.” Carlisle organized the first Mothers’ Club for the Berkeley Tribune admired her “purring kitten” in 1898 and noted:20 schools and was active in the Welfare League.14 With Mrs. William Keith Louise M. Carpenter has branched lately in a new line, she was a prominent supporter of the Political Equality Club, an that of animal painting and her work is full of promise. She has organization of suffragettes.15 Mrs. Carlisle was a long-time member of the displayed two studies, showing strength and skillful treatment. Hillside Club, where she helped organize art exhibitions, and of the 16 Some of her other venues included the Second and Fifth Annual Codornices Club. She was the first woman to hold the position of Director Exhibitions of the Oakland Art Fund sponsored by the Starr King Fraternity of the Berkeley Chamber of Commerce. When the Berkeley fire of 1923 in 1902 and 1905 and the Louis and Clark Exposition in Portland in 1905.21 destroyed her home and an art collection valued at over two hundred In addition, her work was shown at the Alaska-Yukon-Pacific Exposition in thousand dollars, she moved to San Francisco to live with her daughter 17 Seattle in 1909. At the latter she received a gold medal. In 1915 her oils, Alma. In her new residence at 2455 Leavenworth Street she patiently My Neighbor’s Garden and Birches-British Columbia, were selected for the rebuilt her collection of Oriental art which was eventually donated to the California Artists Exhibition at the Golden Gate Park Memorial Museum.22 local Asian Art Museum. Carlisle died in her sleep “from a heart aliment” “Miss L. M. Carpenter” first appeared in the Berkeley Directory on November 24, 1932.18 of 1892-93 as a “student” residing with her brothers, Owen and Morris ENDNOTES FOR CARLISLE: 1. Polk: 1887-88, p.843; 1889-90, p.996; 1906, Carpenter, on Ward Street near Fulton.23 In 1894 one of her earliest p.650. / 2. Polk: 1904, p.602; 1911, p.1019; U.S. Census of 1900 [ED 395, Sheet 9]. / 3. BDG, February 7, 1905, p.6. / 4. BDG, December 1, 1906, p.1. / 5. Appendix 1, listings as an “artist” in the Directory’s classified section gave her studio 24 Nos.1, 5; Schwartz, Northern, p.48. / 6. TOT, December 1, 1906, p.4; SFL: December address as simply the MacDonough Building in Oakland. By 1897 the 1, 1906, p.5; December 9, 1906, p.4; SFC, December 1, 1906, p.4; TCR, December 1, family had moved to 2525 College Way.25 In 1900 her mother, Lucretia, 1906, p.10. / 7. BDG: October 10, 1907, p.3; October 29, 1907, p.1; SFL, December was listed as “head” of their household and Louise’s studio and residence 12, 1907, p.5; BAA2, pp.2-4. / 8. BDG: October 26, 1907, p.1; October 28, 1907, p.9. / were given at 2525 Hearst Avenue, the new name for College Way. Here 9. TCR, September 15, 1906, p.4; SFL, April 4, 1910, p.14. / 10. SFL, February 4, Louise lived for most of her Berkeley period with her physician-brother, 1910, p.6. / 11. BDG, March 25, 1911, p.1. / 12. BDG, March 31, 1911, p.12; TCR: 26 March 18, 1911, pp.3f; March 25, 1911, pp.4, 15; April 8, 1911, p.3; April 15, 1911, p.3; William M. Carpenter. From 1922 to 1930 her Berkeley address was at 27 April 29, 1911 p.3; Polk, 1912, p.62. / 13. TCR: April 6, 1912, p.3; April 13, 1912, p.4; 2527 Hearst Avenue. February 3, 1913, p.3. / 14. TSL, April 13, 1907, p.4. / 15. SFL, September 9, 1907, Of all of the resident painters in Berkeley she was among the p.6. / 16. BDG, July 24, 1906, p.5; TOT: February 26, 1911, p.6; January 17, 1916, most extraverted and willingly lent her public support to artistic activities in p.9; TCR, January 8, 1916, pp.11f. / 17. Polk: 1914, p.1038; 1923, p.406; U.S. Census the University town. For the 1896 Berkeley Flower Show her arrangement of 1930 [ED 38-340, Sheet 21B]. / 18. BDG, November 25, 1932, p.14; Hughes, p.193. of roses won a prize.28 At Berkeley’s Studio Building Exhibition in December 1906 she not only helped to organize the displays, but also LOUISE MARIE CARPENTER (1867-1963) was born on exhibited and served as “patroness,” a combination of influential supporter, August 16th near Smartsville, California. According to the U.S. Census of advisor and docent.29 One of her contributions, entitled Contented 1870, she resided in Rose Bar, Yuba County, with her bookkeeper-father, Puppies, received a far more favorable review than the “disappointing” William, her New Jersey-born mother, Lucretia, and older brother, George.1 animal study by Elizabeth Strong.30 Louise was one of the earliest A decade later her mother married O. F. Redfield and the family again lived organizers of the Berkeley Arts and Crafts Society, later called the Studio in Smartsville.2 Louise moved with her parents to Berkeley about 1885. Club, and served as its “corresponding secretary.”31 She supported the She studied with Amédée Joullin, Oscar Kunath, Arthur Mathews and Berkeley Art Association (BAA) and became one of its “directors.”32 She Raymond Yelland at the School of Design in San Francisco. In 1891 she exhibited at the First and Third Annuals of the BAA.33 At the Alameda was awarded an honorable mention for an oil described in the San Francisco Call :3 County Exposition in Oakland’s Idora Park she was recognized as an equal to William Keith, Xavier Martinez and Edwin Deakin and was the only In the art room itself the best picture is probably that woman given equivalent exhibition space.34 She was so personable that exhibited by Miss Carpenter – a study in oils, representing a jar and when the Federated Mothers’ Clubs needed attendants in the “art booth” at sundry broken coconuts, the “values” being exceedingly well kept and their annual fair, Carpenter and Mrs. William Keith were chosen.35 the pearly tints of the nut-interiors alike truthful and masterly. The To insure the continued sale of her paintings she kept her name same subject, treated in different style by other students, only serves in the local press by submitting the itineraries of her summer vacations to to exhibit the superiority of this picture. the society pages, especially trips to her “cottage” at Lake Tahoe where The Call, believing that her chances for a medal were good, reproduced a she invited fellow artists such as Eleanor Carlisle.36 In addition, there were sketch of her still life entitled Chrysanthemums and found “praiseworthy” frequent notices that she had been the “hostess for . . . a score of guests” her canvas San Juan Island-Washington.4 She received the Avery gold at a “progressive whist party.”37 After 1906 these soirees were given at her medal for her “kitchen study” of chickens with vegetables and her Tokay new Dana-Street studio, which was “festive with lanterns and effective Grapes in 1892, the year of her graduation.5 In January of 1893 at the Annual of the Mechanics’ Institute Fair it was remarked that Carpenter:6 arrangements of flowers and greens . . . with prominent Berkeley and San 355

Francisco people.”38 Here the social elite had the opportunity to examine classes at the local Sequoia High School.5 He officially listed his her recent work and discreetly purchase one of her coveted painting. occupation as “voice teacher,” but continued to exhibit his paintings By 1900 Louise made regular “sketching tours” to the Monterey locally.6 He and his wife, Alma, spent the summer of 1910 in Carmel where Peninsula and in 1905 she joined her art-school chum and life-long he contributed to the Fourth Annual of the Arts and Crafts Club.7 On his companion, Mary DeNeale Morgan.39 Friends from Pacific Grove made 1918 draft registration card his address was given as 1070 El Camino in reciprocal visits to Louise’s Berkeley home.40 On or before 1910 she San Mateo.8 The Carringtons raised five children in Redwood City.9 In established a second home in Pacific Grove; after her mother’s death in 1912 he published his first operetta, Windmills of Holland, which was the 1912 she visited the Peninsula with more frequency.41 She continued to be beginning of his illustrious career. He quickly rose to the position of active professionally in Berkeley and was a co-curator in 1911, 1914, 1916 Superintendent of Music and conducted his own cantatas at schools and 1917 of the arts and crafts exhibitions at the Hillside Club; at these throughout the San Francisco Bay Area.10 During his lifetime he composed events her own paintings were often displayed.42 In 1917 she also donated more than forty children’s operettas which were produced on three a painting to Oakland’s Red Cross Benefit “Auction Comique.”43 By the continents.11 Otis Carrington died in San Mateo on December 1, 1964.12 1920s she maintained a somewhat lower profile in Berkeley; her habitual ENDNOTES FOR CARRINGTON: 1. Halteman, p.I.43. / 2. U.S. Census of 1900 practice was to spend long summers in Pacific Grove. She did contribute [ED 112, Sheet 12B]. / 3. SFL: May 4, 1902, p.36; June 7, 1903, p.36; October 28, to the Inaugural Exhibition at the Hotel Claremont Art Gallery in December 1903, p.5; December 28, 1903, p.7; May 31, 1905, p.9; TOT: April 13, 1905, p.12; June of 1925.44 Notices in 1925 and 1926 mentioned that Carpenter hosted at 3, 1905, p.14. / 4. Crocker: 1904, p.408; 1907, p.375; 1908, p.403. / 5. CSM, December 18, 1948, p.5. / 6. U.S. Census of 1910 [ED 59, Sheet 1A]. / 7. Appendix her Berkeley home her cousin, William Woodward, the eminent art teacher 2. / 8. WWDR, No.3296-653, September 12, 1918. / 9. U.S. Census of 1920 [ED 80, 45 and painter from Tulane University and a recent devotee of Carmel. In Sheet 3B]; U.S. Census of 1930 [ED41-50, Sheet 5B]. / 10. E.g., TOT: March 22, 1926 she served on the “reception committee” with Frederick Lamb and 1923, p.16; May 17, 1925, p.8-X; November 20, 1927, p.4-M. / 11. NYT, Dec. 4, 1964, other artists at the Berkeley League of Fine Arts.46 The U.S. Census of p.40. / 12. California Death Index; Hughes, p.196. 1930 shows her a resident of Berkeley.47 By 1935 she had established a single residence in Pacific Grove with an address at 214 Forest Park; she ADA BELLE CHAMPLIN (1869-1950) was born on December registered on the local voter index as a “Democrat.”48 She exhibited her 25th in St. Louis, Missouri. According to the U.S. Census of 1880, she seascapes and landscapes with the Carmel Art Association (CAA) between relocated to Marshall, Missouri, in Saline County with her parents, four 1934 and 1937.49 By election she became the secretary and a member of sisters, one brother and a live-in servant.1 Her father, Henry C. Champlin, the board of directors of the CAA in August 1937 and exhibited with other was employed as a grain dealer. She received her professional training members of the organization at the Stanford University Art Gallery that initially at the Art Institute of Chicago between 1886 and 1890 and later at fall.50 She attended the 1943 reunion of her classmates from the School of the: Ipswich School of Arthur W. Dow, Art Students League in New York Design at the Carmel studio of Charlotte Morgan; other survivors were City, Landscape School at Old Lyme and Cap Cod School of Art with Mary DeNeale Morgan and Ethel Martin Sparks, the wife of Will Sparks.52 Charles W. Hawthorne.2 Champlin also studied with John Carlson, Henry By 1944 she had moved to Carmel.52 Miss Louise Carpenter died in B. Snell and Fred Freer before she embarked on further training in Europe. Carmel on October 25, 1963.53 Before 1900 she resided in Chicago’s fashionable Hyde Park neighborhood U.S. Census of 1870 [ED ?, Sheet 24]. / ENDNOTES FOR CARPENTER: 1. 2. with her family which could now afford two live-in servants.3 In 1909 she U.S. Census of 1880 [ED 169, Sheet 22]. / 3. SFL, December 11, 1891, p.2. / 4. SFL, December 12, 1891, p.8. / 5. SFL: December 13, 1891, p.2; December 11, 1892, p.7; gave her address as 4711 Woodlawn Avenue and exhibited at the Art Halteman, pp.I.64. / 6. SFL, January 23, 1893, p.3. / 7. SFC, February 18, 1893, p.7. Institute of Chicago.4 She moved to California from Illinois in 1910 and / 8. SFB, May 19, 1893, p.1. / 9. Halteman, pp.I.124, II.45; TAT: April 23, 1894, p.11; resided with her parents and two sisters at the posh Coronado Hotel in San May 27, 1895, p.14; June 3, 1895, p.14; November 18, 1895, p.14; SFL: November 27, Diego.5 By 1916 she had relocated to Pasadena and lived with her 1896, p.11; December 4, 1896, p.7; November 17, 1897, p.5; March 14, 1902, p.9; AAA widowed mother, Susan, two sisters and a maid at 65 South Madison 1, 1898, p.391; TWV, March 31, 1900, p.7; SFC, November 8, 1901, p.9; MHR, June 6 1902, p.18. / CMIE, p.6; SFX: January 4, 1894, p.4; January 28, 1894, p.39; Avenue. In the U.S. Census of 1920 she was listed as in previous Census 10. 7 Schwartz, San Francisco, p.44. / 11. SFL: April 19, 1985, p.9; April 21, 1895, p.9; May reports without an specified profession. After the death of their mother the 24, 1895, p.14; May 29, 1895, p.9; TOT, May 31, 1895, p.4. / 12. SFL, June 5, 1894, Champlin sisters moved to 640 Prospect Boulevard in Pasadena.8 p.10. / 13. SFN, Christmas 1894, p.59. / 14. SFN, November 19, 1904, p.22. / 15. For almost three decades Ada Champlin maintained a summer SFL, April 9, 1905, p.40. / 16. Halteman, p.III.37; SDR: September 1, 1890, p.3; home and active social life in Carmel where at times she resided year September 14, 1894, p.3; SFL, August 18, 1895, p.19. / 17. SDR: September 11, round and hosted guests, including the artists Frances Clark, Orrin White, 1894, p.3; September 12, 1894, p.3. / SDR, September 11, 1895, p.3. / 18. 19. Charles Kilgore and Marion Kavanaugh Wachtel; she completed Sacramento Bee, September 10, 1898, p.2. / 20. TOT, November 16, 1898, p.4; November 19, 1898, p.8; cf., SFL: December 29, 1895, p.26; July 15, 1896, p.13; construction of her new studio-residence on Camino Real, known as the November 17, 1898, p.11; HDR, July, 17, 1896, p.4. / 21. SFL: December 5, 1902, “Sketch Box,” in the summer of 1922.9 Her atelier, which was reportedly p.13; March 7, 1905, p.6; May 13, 1905, p.9; TOT: December 5, 1902, p.4; March 3, “unique” for its immaculate appearance, was occasionally leased during the 1905, p.7; March 6, 1905, p.2; March 8, 1905, p.16; Schwartz, Northern, p.49. / 22. winters.10 She contributed in August of 1920 to the Annual Exhibition of the Schwartz, Northern, p.49. / 23. Polk 1892-93, p.772. / 24. Polk 1894, pp.631, 835; Arts and Crafts Club an oil entitled Topanga, which by popular vote was TOT, May 31, 1895, p.4. / 25. Polk 1897, p.620. / 26. U.S. Census of 1900 [ED 395, Sheet 12]; Polk: 1900, p.588; 1902, pp.541, 612; 1905, pp.662, 773; 1911, pp.1020, chosen one of the ten best, and in November to the Club’s Holiday 11 1357; 1913, p.60; 1918, p.282. / 27. Polk: 1922, p.374; 1926, p.461; 1928, p.437; Exhibition of Small Paintings. She continued to exhibit at the Carmel CVRI, Alameda County: 1926, 1928. / 28. SFL, May 10, 1896, p.15. / 29. TOT, Annuals between 1921 and 1924; her submissions were entitled: 1921 – December 1, 1906, p.4; TCR, December 1, 1906, p.10. / 30. TCR, December 8, 1906, Highlands Coast and Carmel Valley; 1922 – Golden Sycamores, The pp.10, 13. / 31. BDG: April 8, 1907, p.3; April 26, 1907, p.1; TOT: April 9, 1907, p.15; Nearer Mountains and Gray Day; 1923 – The Road Up the Valley and April 28, 1907, p.35; November 4, 1907, p.4; TCR, May 4, 1907, p.13. / 32. BDG, Mountain Stream; 1924 – Old Sycamore and Carmel Shore. Jane October 29, 1907, p.1; SFL, October 29, 1907, p.11; TOT: October 30, 1907, p.2; Holloway, critic for the Carmel Pine Cone, said of her 1923 submissions:12 December 17, 1907, p.13; November 8, 1908, p.21; TCR, November 2, 1907, p.16; TSL, December 7, 1907, p.4; BAA2, pp.2-4. / 33. Appendix 1, Nos.2, 5. / 34. BDG, Many artists consider “The Road up the Valley,” by Ada September 2, 1907, p.5; TCR, August 31, 1907, p.14. / 35. TSL, April 13, 1907, p.4; Belle Champlin, the most impressive work this well-known artist of TOT: April 16, 1907, p.8; April 21, 1907, p.40. / 36. BKR, July 23, 1906, p.6; BDG, July Carmel and Pasadena has shown. She had achieved a splendid 24, 1906, p.5; TCR: July 14, 1906, p.4; September 15, 1906, p.4; October 13, 1906, p.8. freedom of handling. She has rendered the fertile contented / 37. TOT: March 12, 1907, p.7; March 14, 1907, p.8; BDG, March 13, 1907, p.5. / 38. countryside, flanked with mountains, which sweep back up the BKR, March 11, 1907, p.8; TOT, March 12, 1907, p.5. / Halteman, p.I.124; TCR: 39. Carmel valley, in a large, satisfying way. Her “Mountain Stream” is a January 9, 1909, p.14; January 23, 1909, p.14; MPH, November 1, 1946, p.5; Klenke, p.55. / 40. TOT, September 8, 1909, p.10. / 41. U.S. Census of 1910 [ED 16, Sheet truthful picture of the Arroyo Seco near Pasadena. Miss Champlin 21A]; TOT, January 15, 1912, p.10. / 42. TOT: February 26, 1911, p.6; October 6, knows well her mountains in all their moods and vagaries. 1913, p.8; March 5, 1916,, p.44; TCR, January 6, 1917, pp.12f. / 43. TOT, October 7, In 1922 and 1924 she served on the exhibition committee of the Arts and 1917, p.20. / 44. TOT, December 13, 1925, p.S-7. / 45. TOT, September 20, 1925, Crafts Club.13 She donated one of her paintings in July of 1927 to a “white p.6-S; CPC, January 9, 1926, p.9; BDG: April 8, 1926, p.9; December 11, 1926, p.7. / elephant” sale for the benefit of that financially troubled institution; at the 46. BDG, March 6, 1926, p.7. / 47. U.S. Census of 1930 [ED 1-318, Sheet 7A]. / 48. CVRI, Monterey County: 1936-1942. / CPC, March 19, 1937, p.6; July 16, 1937, Club’s Hall she held a one-day joint exhibition with Isabel Nicholson and 49. 14 p.13; CRN, July 7, 1937, p.8; CCY, July 16, 1937, p.17. / 50. CCY, August 13, 1937, Eva Belle Adams. That August she functioned as the “hostess” (official p.2; CPC, October 29, 1937, p.1; TOT, October 31, 1937, p.S-5. / 51. CPC, November receptionist) for the opening of William Watts’ one-man show at that same 19, 1943, p.10. / 52. CVRI, Monterey County, 1944. / 53. MPH, Oct. 26, 1963, p.2; venue.15 In October of 1931 she displayed a “small but nice cypress” at the Falk, p.577; Kovinick, pp.41f; Hughes p.195; Petteys, p.123; Jacobsen, p.552. Monterey County Fair.16 Champlin, along with Jennie Cannon and Josephine OTIS MILLS CARRINGTON (1884-1964) was born on July 18th Culbertson, was actively involved in the early formation of the Carmel Art in California. In 1898 at the age of fourteen he began his studies at the Association (CAA); she attended its first meeting on August 8, 1927 at Grey Mark Hopkins Institute of Art under John Stanton, Alice Chittenden, Maren Gables.17 In July of 1928 she contributed to the Sixth Exhibition of the CAA Froelich, Harry Fonda, Charles Judson, Arthur Mathews and Raymond and returned two years later for the Thirteenth Exhibition to display A Leafy Yelland.1 By the time he left the California School of Design in 1903 he Road.18 At the CAA’s Seventeenth Exhibition in June of 1932 she served developed a reputation as a watercolorist and still life painter. According to on the jury of selection and contributed the canvas, The Road to the the U.S. Census of 1900, he lived with his parents and siblings at 431 Point.19 Her work was frequently exhibited at the CAA between August of Bartlett Street in San Francisco.2 His stepbrother was a journalist and his 1934 and October of 1939.20 At the CAA Gallery in July of 1935 she stepsister a music teacher. Otis, a boy soprano who became a tenor, displayed Sierra Mountain Village with snowy peaks, “a turquoise sky and frequently sang at recitals.3 Between 1904 and 1908 he maintained his purple-shadowed canyons.”21 A month later at that venue she exhibited studio at Bartlett Street and advertised himself as a “teacher of music.”4 He Zion’s Gates and Sand Dunes “gay with flowers and a bright bit of blue married in 1908 and relocated to an address on El Camino Real in sea.”22 For the CAA’s show in July of 1936 she submitted Carmel Point Redwood City. For over forty years he taught music and watercolor which Thelma B. Miller, art critic for the Carmel Pine Cone, found “a trifle 356 prettified,” but possessed with “qualities of color and balance which win it of the dates for her CAA exhibitions: CSN: August 2, 1934, p.3; July 7, 1937, p.8; forgiveness.”23 At the CAA Miller observed in July of 1937 that Champlin October 6, 1937, p.9; CCY: July 16, 1937, p.17; September 3, 1937, p.10; February 10, “paints the tapestried desert floor with sand verbena patterned to lead the 1939, p.10; October 13, 1939, p.10. / 21. CPC, July 5, 1935, p.8. / 22. CPC, August 24 9, 1935, p.7. / 23. CPC, July 10, 1936, p.10. / 24. CPC, July 16, 1937, p.13. / 25. eye to snow-capped mountains and a suave sky.” That September CPC, September 10, 1937, p.3. / 26. Presently, evidence indicates that all or most of another of her unsurpassed mountain scenes, a study of the Santa Lucia her submissions were in oil. CPC: October 29, 1937, p.1; August 26, 1938, p.14; Range, was praised by Miller.25 Champlin’s other CAA titles included: September 16, 1938, p.6; February 17, 1939, p.2; September 29, 1939, p.3; CCY, Carmel Playground in October of 1937, Carmel Shore and Carmel Scene in September 9, 1938, p.7. / 27. BDG: June 25, 1921, p.6; September 9, 1922, p.6; MDC: August and September of 1938, Point Lobos in February of 1939 and Big June 30, 1921, p.2; July 7, 1921, p.4; TOT, July 3, 1921, p.S-3; LAT, July 10, 1921, p.3- Pines Playground and A Mountain Ranch in September of 1939.26 2; SFC, July 17, 1921, p.E-3; CPC, September 8, 1921, p.4. / 28. TWP, January 5, 1918, p.16. / 29. DPT, June 3, 1921, p.8; CPC, June 30, 1921, p.10. / 30. BDG, Outside of Carmel her exhibition of landscapes in northern January 14, 1922, p.6; CPC, January 19, 1922, p.1; SFC, January 22, 1922, p.E-5. / California was infrequent, but it did include the San Francisco Art 31. DPT, January 13, 1922, p.4. / 32. CPC, May 11, 1928, p.4; DPT, June 23, 1928, Association in 1916 and the Del Monte Art Gallery from 1918 to 1922.27 In p.6. / 33. SFC, May 13, 1928, p.D-7. / 34. CPC, October 29, 1937, p.1; TOT, October January of 1918 Josephine Blanch, the Del Monte’s director, referred to 31, 1937, p.S-5. / 35. LAT: November 18, 1923, p.3-24; November 30, 1924, p.3-24; Champlin’s two small canvases, Monterey Street and Old Bridge-New April 12, 1925, p.3-34; TOT, December 30, 1923, p.S-5. / 36. Moure, p.B-40. / 37. Jersey, as “well handled and interesting in subject.”28 In June of 1921 at LAT, January 23, 1921, p.3-2; CPC, February 5, 1921, p.3. / 38. CPC, April 5, 1924, p.1. / 39. Moure, p.B-40. / 40. Ibid. / 41. LAT: June 21, 1925, p.3-12; September 13, the Stanford University Art Gallery she displayed in the Carmel Artists 1925, p.3-22; January 17, 1926, p.3-36; January 9, 1927, p.3-36; May 28, 1933, p.2-4. / Exhibition three Carmel landscapes, including one entitled Where the River 42. LAT, December 2, 1928, p.3-25. / 43. CPC, January 27, 1928, p.5. / 44. CRM, Meets the Sea, “a sight so lovely to all who know Carmel that when you March 7, 1928, p.7; ARG, March 1928, p.16. / 45. LAT, April 20, 1930, p.3-15. / 46. meet it in a picture . . . you marvel that its fleeting beauty could be CPC, September 11, 1931, p.9. / 47. As cited in CPC, April 23, 1932, p.7. / 48. charmingly portrayed.”29 She returned to Stanford the following January Moure, p.B-40. / 49. McGlauflin, p.83; Ball, p.125. / 50. California Death Index; cf., and contributed to the exhibition of California Women Painters her “very Kovinick, p.44f; Petteys, p.132; Falk, p.611; Moure, p.43; Jacobsen, p.586; Hughes, p.205; Wall Moure, p.122. impressive” Highlands Coast and two other canvases.30 The critic for the Daily Palo Alto Times noted in 1922 that her “strong paintings of scenes 31 HELEN CLARK CHANDLER (1881-1975) was born on around Carmel” displayed “a fine use of blue painted shadows.” Between th th th January 20 in Wellington, Kansas, and settled with part of her family in May 6 and May 27 of 1928 twenty-one of her California landscapes in oil northern California by the late 19th century. She started her art studies at occupied an entire wing of the Stanford University Art Gallery.32 Aline San Francisco’s Mark Hopkins Institute of Art in the academic year 1898-99 Kistler of the San Francisco Chronicle said that her paintings “have a restful under Alice Chittenden, Charles Judson, Harry Fonda, Raymond Yelland quality that reflects the softer as well as the more brilliant moods of and Douglas Tilden.1 In 1900 she spent a year in Paris at the Académie nature.”33 Among her exhibited scenes were: The Carmel Dunes, Carmel Delecluse and apparently worked with the American sculptor, Frederick Playground, Carmel Shore, The River Valley, December Sycamore, MacMonnies. Between 1903 and 1906 her residence was in Berkeley and Monterey, Eaton’s Canyon and Eucalypti. Champlin returned to Stanford in the local Directory recorded a “Miss Helen Chandler” sharing a house at October of 1937 to show a canvas at the CAA Members’ Exhibition show.34 2815 Channing Way with her father, John W. Chandler, and her mother, In Los Angeles Champlin contributed to the Annual Exhibitions Georgina Clark Chandler.2 She exhibited at the San Francisco Art at the California Art Club between 1917 and 1926.35 Her submissions to Association (SFAA) in 1904 and 1905 her watercolors and pastels with the that Club in 1921 and 1922 were entitled respectively Carmel Valley and 36 following titles: Oaks, Apple Trees and Stone Wall, Elms, An Old Garden Carmel Shore. At the Battey Gallery of Pasadena in January of 1921 she and Reflections After Sunset.3 In 1904 she became a member of the held a joint exhibition of primarily Carmel scenes with Frances Clark.37 Oakland Art Fund.4 For two years between 1907 and 1908 she attended Antony Anderson of the Los Angeles Times singled out her paintings: The Columbia University and graduated from its Teachers College. Birge Sentinel, Eucalyptus Grove, Morning on the Rocks, Morning on the Carmel Harrison tutored this promising student in Woodstock as did Arthur W. Dow Coast and “that fine play of color” A Topanga Hill. At the 1924 Jubilee in New York City. After teaching briefly at the Horace Mann School in New Exhibition in Pasadena her small canvas, An Arroyo Cliff, was called “warm York, Chandler offered drawing classes at the California State Normal and rich in color.”38 In addition, she contributed to Southland exhibitions at 39 School of Los Angeles where in 1909 she exhibited her charcoal studies, the: California Liberty Fair of 1918, Painters and Sculptors of Southern oils and watercolors.5 She returned in late 1909 to her Berkeley address California in 1921,40 Pasadena Art Institute from 1925 to 1933,41 and and resided there continuously until 1914.6 At this time she advertised her Pasadena Society of Women Painters and Sculptors in 1928.42 In January studio in the classified section of the Directory.7 She began to make of 1928 at the Exhibition of California Artists in the Pasadena Art Institute 43 regular visits to both Pacific Grove and Carmel. In 1912 her stay in Carmel she displayed A Byway. Two months later at that venue she held a joint was long enough that she registered as a “Republican” on the local voter exhibition of paintings with fellow Carmel artists William Silva, Ralph D. index.8 Between 1911 and 1914 her drawings, watercolors and pastels at Miller and William Watts.44 In April of 1930 her solo exhibit at the Carmelita the SFAA carried such titles as: A Bit of New England, Sand Dunes- Garden House of the Pasadena Art Institute received the following review Pacific Grove, Marshes-Ipswich-Massachusetts, Cypress Tree-Monterey, from the art critic of the Los Angeles Times, Arthur Millier:45 Eucalyptus, Coast near Carmel and An Old Cypress.9 Ada Belle Champlin has a good eye for composition. Her From the fall of 1910 through the spring of 1914 Helen landscapes lack firm drawing in many instances and tend to be Chandler taught watercolor – “studies from nature, fruit, flowers, drapery monotonous in color, but they are painted with a faithful view of the and still life” – as well as the Saturday drawing classes for children and region. We liked best: “A Topanga Oak,” “Across the Orange Grove,” teachers at the California School of Arts and Crafts in Berkeley.10 For “Top of the Mountains,” “Eaton’s Canyon” and “A San Jacinto undisclosed reasons she was abruptly replaced by James M. Griffin in the Orchard.” fall of 1911, but returned in the spring of 1913 as an instructor in design In the summer of 1931 her canvas The Sheep Herder was purchased by and teaching methods as well as watercolor.11 It was during this hiatus that the prominent Pasadena art collector, Mrs. Henry Everett.46 Eleanor she also withdrew from the December 1912 exhibition at the University of Minturn-James, art critic for the Pasadena Star-News, reviewed the 1932 12 47 Arizona in Tucson where her friend Jennie Cannon was acting as curator. spring exhibition of the Pasadena Society of Artists: However, she did exhibit her watercolors and monotypes in May of 1912 at Ada Belle Champlin has never painted a finer landscape the Royar Gallery of Los Angeles. According to Antony Anderson, her . . . with its unhurried charm. The distant live oaks of the long flat landscapes, primarily scenes of Berkeley and Carmel, possessed valley, the edges of which gently creep up into the foothills on the “beautifully harmonious” colors.13 further side. All a softly olive green. Hazy as it is in summer in the During Chandler’s Berkeley period she exhibited regionally at foothill country. The air, mellow and warm and relaxing. An the: Fifth Annual Exhibition of the Oakland Art Fund at the Starr King immediacy of a distinctly seasonal atmosphere which is more sensed Fraternity in 1905,14 First Annual of the Berkeley Art Association in 1907,15 than appreciably painted with any definiteness. The pleasing drab of Del Monte Art Gallery from 1910 to 1911,16 and Sketch Club between 1910 the restful greenness is broken now and again with a note of some and 1913.17 Among her submissions to the last venue were such titles as: red tile roof, some white Spanish wall. Roadway-Monterey, Berkeley and Boulders. Her monotypes at the Paul Between 1934 and 1937 her contributions to the Pasadena Society of Elder Gallery in San Francisco were characterized as “remarkable for their Artists were entitled: Lobos Cliffs, Carmel-by-the-Sea, Carmel Playground, 18 48 rare delicacy of handling, exquisite color and fine detail.” In addition, she Carmel Shore, Eucalyptus and Edge of Pasadena. She was a member of exhibited at the California State Fair. Between 1913 and 1915 she the Laguna Beach Art Association.49 Miss Ada Belle Champlin died in 50 contributed to the Annuals of the California Society of Etchers in San Pasadena on December 16, 1950. Francisco two etchings with the titles After a Storm and Coming Storm as ENDNOTES FOR CHAMPLIN: 1. U.S. Census of 1880 [ED 268, Sheet 3]. / 2. well as three monotypes: Cypresses, Shadows at Evening and Evening on CPC, September 8, 1921, p.4. / 3. U.S. Census of 1900 [ED1021, Sheet 8A]. / 4. 19 AAA 7, 1909-10, p.106. / 5. U.S. Census of 1910 [ED 125, Sheet 3B]. / 6. AAA: 14, the Desert. Two of her works, Monterey Coast and A Bit of Marin, 1917, p.449; 18, 1921, p.377; 22, 1925, p.439; 24, 1927, p.514. / 7. U.S. Census of appeared in the 1914 Women Artists of California exhibition at Berkeley’s 1920 [ED 528, Sheet 6A]. / 8. U.S. Census of 1930 [ED 11-1220, Sheet 19B]. / 9. Hillside Club.20 CPC: September 8, 1921, pp.1, 4; November 17, 1921, p.1; May 25, 1922, p.4; July 22, In 1914 she moved to Los Angeles and resumed teaching at 1927, p.6; August 14, 1931, p.14; September 25, 1931, p.5; May 4, 1934, p.2; TOT, the California State Normal School, later known as UCLA.21 According to September 14, 1924, p.S-5. / 10. CPC: December 14, 1928, p.15; December 11, 1931, the American Art Annual and the local Directory, she first resided at 137½ p.8. / 11. Appendix 2. / 12. CPC, July 28, 1923, p.1. / 13. CPC: January 29, 1922, p.1; August 23, 1924, p.4. / 14. CPC, July 15, 1927, p.6. / 15. CPC, August 6, 1927, South Commonwealth Avenue and then at 543½ Heliotrope Drive. In the p.6. / 16. CPC, October 9, 1931, p.8. / 17. Refer to narrative in Chapter 7. / 18. mid 1920s she relocated to 521 North Alexandria Avenue. Within a decade Appendix 4; TOT, July 20, 1930, p.6-O; CRM, July 24, 1930, p.7. / 19. CPC, June 17, she listed her address as “Westgate” or simply “West Los Angeles.”22 1932, p.2; CRM, June 23, 1932, p.3. / 20. The titles of her submissions and any According to the U.S. Census of 1930, she resided with her mother at 135 significant commentaries are inserted in the text; the following references provide some South Carmelina Avenue and shared this address with her second cousin, 357 the well-known print maker Nellie Gere, who also taught art at UCLA.23 In 1898, p.10. / 8. U.S. Census of 1900 [ED 258, Sheet 11A]. / 9. TOT, March 24, 1908, 1914-15 Chandler exhibited her desert scenes as well as her seascapes p.10. / 10. U.S. Census of 1910 [ED263, Sheet 9B]. / 11. CPC, May 17, 1916, p.4; from Carmel and the Monterey Peninsula in the gallery on campus.24 Her U.S. Census of 1920 [ED 15, Sheet 3B]. / 12. CPC, August 22, 1947, p.13; TOT, 25 September 28, 1947, p.1-C. / 13. CVRI, Monterey County: 1916, 1920. / 14. CPC: sketches also appeared at the Devenish Art Club in 1915. She May 2, 1918, p.1; March 30, 1922, p.10. / 15. Appendix 2. / 16. CPC, May 30, 1925, contributed a year later to the Fourth Annual Exhibition of the California p.9. / 17. CPC, June 11, 1926, p.16. / 18. CVRI, City and County of San Francisco: Society of Etchers.26 Helen exhibited her work at the Art Teachers’ 1927-1940. / 19. CPC, April 1, 1932, p.14. / 20. CPC, August 22, 1947, p.13; Association of Southern California in 1922 and 1924; the titles of these six California Death Index; cf., Falk, p.613; Hughes, p.206; Jacobsen, p.590. / 21. TOT, displayed pieces were: Evening in the Desert, Cliffs, Oaks, Zion Canyon, September 28, 1947, p.1-C; CPC, October 24, 1947, p.5. Mono Lake and Hills.27 In 1924 and 1926 she offered Desert Mountains th and Red Canyon Walls to the Annuals of the California Water Color ALTHEA CHASE (1870-1959) was born on December 8 in Society.28 As late as 1940 her students held group shows.29 Her Los Iowa. In 1880 she resided on a farm in Eden, Iowa, with her parents, three 1 Angeles address in 1949 was listed at 153 Gretna Green Way. Miss brothers and two sisters. She attended the Art Institute of Chicago where th Chandler died on February 21, 1975 in Pomona, California.30 she exhibited in 1896-97 and 1904-05. At the end of the 19 century ENDNOTES FOR H. CHANDLER: 1. Halteman, pp.I.43. / 2. Polk: 1904, p.603; Althea was studying in Paris at the atelier of James McNeill Whistler and 1906, p.651. / 3. Halteman, p.I.126; SFL: November 17, 1905, p.9; November 19, with Raphael Collin at the Académie Julian and Luc Olivier Merson at the 1905, p.19; November 26, 1905, p.19. / 4. TOT, February 20, 1904, p.5. / 5. Moure, École des Beaux-Arts. She was one of the few Americans to train with the p.43; LAT, April 25, 1909, p.3-2, 18. The Los Angeles Times reproduced her Elma at temperamental, but brilliant Alphonse Mucha. On her return to the States Ipswich from that show. / 6. U.S. Census of 1910 [ED 64, Sheet 3B]; Polk: 1910, she sketched and painted in the Rocky Mountains and by 1905 resided at p.996; 1911, p.1022; 1913, p.62; 1914, p.1041. / 7. Polk 1910, p.1319. / 8. CVRI, 352 North Cleveland Avenue, Pocatello, Idaho.2 In 1906 she had a San Monterey County, 1912. / 9. Halteman, p.I.126; SFC, April 6, 1913, p.27. / 10. CSAC, 1910-1914. / 11. SFL, June 8, 1913, p.32; TOT, June 29, 1913, p.40. / 12. Cannon, Francisco residence at 144 Guerrero Street and was employed as a Diaries: August 31, October 20, November 24, 1912. / 13. LAT: May 12, 1912, p.3-19; drawing teacher by the Wilmerding School of Industrial Arts at Seventeenth May 19, 1912, p.3-20; May 26, 1912, p.3-22. / 14. Schwartz, Northern, p.50; TOT, and Utah Streets.3 March 3, 1905, p.7. / 15. Appendix 1, No.2. / 16. Schwartz, Northern, p.50; SFL, June Within a year Chase had moved to Berkeley, but kept her 29, 1910, p.36; SFC, November 12, 1911, p.29. / 17. Schwartz, Northern, p.50; SFC, position at Wilmerding into 1908, after which she devoted herself November 8, 1910, p.9; SFL: November 13, 1910, p.42; March 23, 1913, p.31. / 18. exclusively to teaching in the East Bay.4 She taught private art classes SFL, December 10, 1911, p.37. / 19. CSEE; Schwartz, Northern, p.50. / 20. SFC, March 8, 1914, p.221; BDG: March 13, 1914, p.8; March 17, 1914, p.3; TCR, March 14, from her studio-home at 2702 Virginia Street and specialized in oils and 5 1914, p.5. / 21. LAT, June 6, 1915, p.3-17; AAA: 12, 1915, p.342; 14, 1917, p.449; 18, graphic art. She participated in the Second Annual Exhibition of the 1921, p.377; 22, 1925, p.439; 24, 1927, p.514. / 22. LACD: 1917, p.525; 1918, p.514; Berkeley Art Association in 1908 and exhibited two pieces: A Dutch Interior 1919, p.653; 1921, p.728; 1923, p.816; 1927, p.592; 1930, p.606; 1932, p.429; 1936, and The Grandmother.6 By April of 1910 she had moved to Portland, p.379. / 23. U.S. Census of 1930 [ED 19-77, Sheet 21A]. / 24. LAT: December 13, Oregon, and was active in the local art scene.7 At this time she described 1914, p.3-6; April 11, 1915, p.3-15; April 18, 1915, p.3-17. / 25. LAT, March 14, 1915, her occupation as “public school teacher” and resided on Thirteenth Street p.3-15. / 26. LAT, February 6, 1916, p.3-4. / 27. LAT, December 24, 1922, p.3-15; Moure, p.B-41. / 28. Moure, p.A-13. / 29. LAT, October 27, 1940, p.3-8. / 30. Moure, with her brother Russell. In 1920 she continued to live in her brother’s p.43; Kovinick, p.45; Hughes, p.206; Falk, p.612; Jacobsen, p.589; Petteys, p.132. house, now at 471 East Forty-second Street, but listed her profession as “artist” with “private pupils.” Two of her sisters also lived at that address. For the U.S. Census of 1930 Althea was recorded as co-head of the house SARAH ELIZABETH (Lizzie) CHANDLER (1864-1947) was with no specified occupation.8 Miss Chase died on December 7, 1959.9 born on April 9th in Memphis, Tennessee, and migrated with her family to ENDNOTES FOR CHASE: 1. U.S. Census of 1880 [ED 185, Sheet 8]. / 2. AAA the San Francisco Bay Area; she graduated from Denman’s Grammar 5, 1905-06, p.337. / 3. Crocker 1907, p.393. / 4. Crocker: 1908, p.432; 1909, p.388. / School in 1877 and from Oakland High School in 1880. According to the 5. Polk 1909, p.1016. / 6. Schwartz, Northern, p.50; Appendix 1, No.3. / 7. U.S. U.S. Census of 1880, she lived with both parents, William Lewis Chandler Census of 1910 [ED 161, Sheet 1B]; U.S. Census of 1920 [ED 141, Sheet 2]. / 8. U.S. and Georgiana Pulling Chandler, as an only child at 1221 Adeline Street in Census of 1930 [ED 26-407, Sheet 4A]. / 9. Oregon Death Index; The Oregonian, Oakland.1 Her father was a “bookkeeper.” Sarah studied at the Boston December 9, 1959, p.19; Kovinick, p.351; Falk, p.622; Petteys, p.135; Jacobsen, p.598. Conservatory of Music and the Cooper Union for the Advancement of ADA B. MORSE CLARK (1876-19??) was born in July to the Science and Art in New York. From 1892 to 1895 she was an instructor at family of a lumberjack near the township of Warren, Maine. According to the Field Seminary in Oakland, an exclusive school for girls.2 She studied the U.S. Census of 1880, she resided with her parents, three brothers and at the California School of Design under Alice Chittenden, Amédée Joullin, one sister.1 In the late 19th century Miss Morse was a student at Stanford Raymond Yelland and Harry Fonda from 1895 until mid 1898; she also had University where she befriended Jennie Cannon and studied art under instruction at the local Art Students League under Emil Carlsen.3 Chandler Bolton Coit Brown. From the U.S. Census of 1900 we learn that she was a exhibited her portraits and still lifes with the Sketch Club between 1894 and resident of Santa Clara, California, in the home of her father, Benjamin 1897.4 Her very modern portrait of a boy was reproduced in a history of Morse, step-mother and younger brother.2 She married Walter Clark on that Club.5 She contributed to San Francisco Art Association exhibitions June 27, 1901.3 In the U.S. Census of 1910 Ada resided as a recent from 1895 to 1897 such titles as: The Little French Model, A Study, widow with her sister in Palo Alto and was employed as a “stenographer” in Alameda Shores, Four Score Years and Portrait.6 In June of 1898 she a “mercantile house.”4 She eventually became the secretary to David Starr donated her art to the Red Cross Benefit Exhibition at the San Francisco Jordan, the president of Stanford University. Clark traveled frequently Press Club.7 Between 1895 and 1898 she maintained a residence at 1222 abroad, especially to the Orient. At the Seventh Annual Exhibition of the Pine Street in San Francisco. From the U.S. Census of 1900 we learn that Carmel Arts and Crafts Club in 1913 her contribution, Japanese Scene, she and fellow artist, Maren Froelich, lived at 1132 Pine Street; Chandler was described by the San Francisco Examiner art critic, Laura Anna listed her first name as Elizabeth and her year of birth as 1862.8 Cotton, as “mystical . . . distinctive with the poetic feeling of that country.”5 After the 1906 earthquake she briefly returned to Oakland, but At this time her residence was given as “Carmel and Japan.” She moved in within two years she began to spend the summers in Carmel and the same social circles as her close friend, Jennie Cannon.6 In the summer established a studio-residence at 2909 California Street in San Francisco.9 of 1914 Clark was a student in the Chase Summer School of Art and a The latter address is confirmed by the U.S. Census of 1910 where her age house guest of William Ritschel and his wife.7 During 1914 she stayed long is listed as “41” and her occupation is given as “artist, at home.”10 By 1916 enough in Carmel to register to vote as a “Republican” and visited Carmel she had established a single studio-home in Carmel on Junípero Street several times the following year.8 In December of 1915 she traveled to near a large parcel of family-owned land on Ocean Avenue and specialized Stockholm as a member of the Ford Foundation’s Committee for Peace in “photo miniatures.”11 Her mother had purchased thirty Carmel lots in and served as “secretary of the neutral conference for mediation at the 1891-92.12 Sarah was registered on the Carmel voter index as a Hague.”9 Mrs. Clark made headlines when she refused to accept a fifty- “Democrat.”13 Her name occasionally appeared in the Carmel society thousand dollar bribe from the German government.10 She returned to the pages and she maintained a close friendship with Mary DeNeale Morgan.14 United States in the late spring of 1917.11 Her date and place of death are At present her only known exhibition in Carmel was at the Fourth Annual of presently unknown. the Arts and Crafts Club in 1910.15 In June of 1925 she “assisted” Jennie ENDNOTES FOR A. CLARK: 1. U.S. Census of 1880 [ED 116, Sheet 10B]. / 2. V. Cannon and B. Collet Wagner in their joint exhibition at the Arts and U.S. Census of 1900 [ED 77, Sheet 5A]. / SFL, June 27, 1901, p.2. / U.S. 16 3. 4. Crafts Club. A year later she recuperated in Carmel from a broken arm Census of 1910 [ED 80, Sheet 11A]. / 5. SFX, July 6, 1913, p.26. / 6. Cannon, and ankle received while walking in Monterey.17 Chandler moved back to Diaries, August 30, 1912; MDC, July 29, 1914, p.3. / 7. Appendix 3; Chapter 5, notes San Francisco in late 1926 and resided at 701 (later at 635) Sutter Street.18 109 and 139. / 8. CVRI, Monterey County, 1914; CPC: April 7, 1915, p.4; May 26, She held memberships in the: San Francisco Society of Women Artists, 1915, p.4; November 24, 1915, p.4. / 9. CPC, December 8, 1915, p.1; DPT, June 4, San Francisco League of National Service and San Francisco Women’s 1917, p.1. / 10. DPT, August 19, 1916, p.1. / 11. CPC, June 14, 1917, p.4. City Club. She periodically returned to Carmel to visit her many friends.19 (ca.1880-19??) was born in Canada Miss Chandler died in San Francisco on August 14, 1947 and was interned FRANCES MARY CLARK and immigrated to the United States in 1911 with her parents who settled in Mountain View Cemetery in Oakland.20 Among the thirty-four the San Francisco Bay Area and visited Carmel. She reportedly studied beneficiaries in her will were the Carmel Art Association, Harrison Memorial with the American Tonalist painter, Birge Harrison.1 By 1917 the Clarks Library of Carmel and Mary DeNeale Morgan; Morgan received the portrait were residents of Pasadena where Frances held her first solo exhibition of of herself painted by Chandler.21 eighteen landscapes at the local Elizabeth Battey Gallery. Antony ENDNOTES FOR S. E. CHANDLER: 1. U.S. Census of 1880 [ED 4, Sheet 8]; 2 TOT, September 28, 1947, p.1-C. / 2. Polk: 1892-93, pp.149, 214; 1894, p.135. / 3. Anderson, art critic for the Los Angeles Times, proclaimed that: Halteman, p.I.43. / 4. Schwartz, San Francisco, p.45; TOT, November 18, 1896, p.2; . . . . these pictures are credentials of such undoubted SFL: November 18, 1896, p.8; November 5, 1897, p.7. / 5. OVM 29, 1897, p.586. / 6. authenticity that we shall be more than pleased to call the young artist Halteman, p.I.126; SFL, April 19, 1895, p.9; AAA 1, 1898, p.391. / 7. SFL, June 10, “one of us.” 358

One of the finest characteristics of Miss Clark as a painter According to the U.S. Census of 1910, Charlotte resided at that address is her handling of skies and cloud forms. Another is harmony of with her widowed stepmother, Vesta Colby.8 Miss Colby remained there color. With such extremely desirable assets at her command she until early 1916.9 She frequently joined the Berkeley artists on sketching should go very far indeed as a landscape painter, for they are two vacations to Carmel. that many artists have to struggle hard for to attain. But she has one One of her earliest documented exhibitions in Berkeley was a decided weakness, one that she should work diligently to correct. collection of watercolors at the 1903 “loan exhibit” of curios and art in the Many of her foregrounds have neither substance, weight nor quality. McKinley Grammar School.10 She received much favorable publicity in They remain mere paint, even when her skies are luminous with Berkeley with her 1906 donation of an oil painting entitled Sand Dunes to sunset or noonday light and her massed clouds are full of splendid that same school.11 At the Second Annual Exhibition of the Berkeley Art movement. Association (BAA) in 1908 she exhibited two works: A Carmel Hillside and This movement of clouds . . . . you find them no less California Trees.12 Colby became prominent in local society, served on perfect in “Carmel Valley,” where a pale green sky stretches over various committees of the BAA and was elected a director of the Town and level fields and distant hills and grazing flocks, and in “San Rafael Gown Club.13 At BAA’s First Annual she was responsible for the display of Heights,” where their moist gray is suffused with a delicate afternoon children’s art. In 1908 she headed the committee for selecting and hanging glow, and where they move across a translucent sky, blue toward the watercolors at the November BAA exhibition.14 By 1909 Colby was elected zenith and greener toward the horizon hills. . . . a “director” of the same organization.15 Her last showing in Berkeley was “By the Sea, Carmel,” also holds fine floating clouds that the 1914 exhibition of California Women Artists at the Hillside Club where are radiant with light, blue waves beating over gray rocks. From she displayed Cornfield and Bit of Inverness.16 Miss Charlotte Colby Quebec comes “Little Champlain Street,” which is as picturesque as apparently moved back to Oakland in early 1916 and on November 16th an alley in a French village . . . . Two harbor scenes, one from died there at the age of sixty. Colby’s obituary lists her middle initial as “L,” Quebec, one from Toronto, give us attractive color and moving water. while many of the above citations have “H.”17 The Clark family continued to spend summers in Carmel. According to the ENDNOTES FOR COLBY: 1. U.S. Census of 1870 [2nd Precinct of 10th Ward, U.S. Census of 1920, Frances was a forty-year-old unmarried “landscape Sheet 108]. / 2. U.S. Census of 1880 [ED 106, Sheet C]. / 3. Halteman, p.III.40. / 4. artist” who resided with her parents at 669 La Loma Road in Pasadena.3 Ibid., p.I.131; SFC, November 8, 1901, p.9. / 5. Schwartz, Northern, p.51; TOT, She was not a naturalized citizen. November 19, 1898, p.8. / 6. Polk: 1896, p.628; 1897, p.688; 1902, pp.126, 612; 1905, pp.139, 772; 1906, pp.137, 774. / 7. Halteman, p.I.131; SFC, November 8, 1901, p.9. / At this time she studied at the Carmel Summer School of Art 8. U.S. Census of 1910 [ED 54, Sheet 6B]. / 9. Polk: 1907, p.295; 1910, pp.1000, and maintained a friendship with fellow Pasadena resident and Carmel 1319; 1912, p.70; 1914, p.1046; 1916, p.978. / 10. BDG, October 19, 1903, p.1. / 11. devotee, Ada Belle Champlin. Clark contributed three works, Grey and BDG: March 8, 1906, p.3; April 3, 1906, p.5; April 5, 1906, p.5; BKR, April 3, 1906, p.5. Gold, By the Sea and Carmel Valley, to the Fourteenth Annual Exhibition of / 12. Schwartz, Northern, p.51; Appendix 1, No.3. / 13. TOT: June 24, 1895, p.1; the Arts and Crafts Club in August of 1920.4 The last two canvases were December 29, 1898, p.4; December 31, 1898, p.6; October 8, 1906, p.7; April 14 1912, voted by the visiting public among the twelve best paintings.5 That p.5; April 29, 1916, p.4; BDG, September 15, 1908, p.3. / 14. BDG: September 19, 1908, p.1; November 16, 1908, p.4; TCR, November 14, 1908, p.8; BAA2, p.4. / 15. November she also exhibited at the Club’s Holiday Exhibition of Small BDG: August 31, 1909, p.1; September 21, 1909, p.1; November 4, 1909, p.3. / 16. Paintings. According to Jennie Cannon, she specialized in “rocks and SFC, March 8, 1914, p.21; TOT, March 8, 1914, p.30; BDG: March 13, 1914, p.8; March surf.”6 In 1926 her painting of Mt. Baldy received “much admiration” at the 17, 1914, p.3; TCR, March 14, 1914, p.5. / 17. TOT, November 17, 1916, p.18; cf., private Carmel Art Gallery; that summer she went to Europe.7 She Hughes, p.229; Falk, p.688; Jacobsen, p.661. exhibited with the Carmel Art Association (CAA) in March of 1929 and June ALICE R. JOHNSTON COMINS (1861-1943) was born on of 1932. At the former, where her name was spelled in the press as “Mary January 1st in Gloucester, Massachusetts, and resided there into the 1870s Clark,” she “contributed two tapestry-like water colors, Bridge Ronda and with her prosperous parents, John S. Johnston and Fannie Field Johnston, Old Mill-Italy, made effective with artful handling of clear warm tones of five sisters, one brother and a servant.1 According to the U.S. Census of delicate rose.”8 At the latter, which was the Seventeenth Exhibition of the 1880, her family had relocated to Boston and Alice officially listed her CAA, she displayed a Landscape which was: “exceptionally fine. The occupation as “artist, painter.”2 In that Census her father’s profession was spacial distances and the tone of the canvas are so well handled that the given as “confectioner and grocer.” Alice studied art in Boston and Maine eye is carried over illimitable leagues of country.”9 under Charles Herbert Woodbury. She first came to California in 1887 and In 1920 and 1921 to the Annual Exhibitions of the Painters and made her home in Santa Barbara. She returned to Boston in 1889 to marry Sculptors of Southern California she contributed the following works: On Frank B. Comins, an extremely wealthy entrepreneur.3 From the U.S. San Rafael Hills and Drifting Clouds.10 Her record of exhibitions in Census of 1900 we learn that the couple resided in Sharon, Norfolk southern California includes a joint show with Ada Belle Champlin at the County, Massachusetts, and had no children, but required three servants.4 Battey Gallery in January of 1921.11 Of this exhibit Antony Anderson She held a solo exhibition of her paintings in 1914 at Boston’s Copley observed that Clark’s work was opposite that of Champlin’s “in method of Galleries. In 1917 Alice listed her professional address in care of the Old expression” with such titles as: Up the Valley, In the Harbor (“a tender Colony Trust Company in Boston.5 In May of that year she and Helen B. scheme of greys and subdued reds”), Indian Summer, At the Sea-Carmel, Allison purchased three Carmel lots from William A. Cannon who had two The Moonlit Sea and The Opal Sea.12 Frances Clark also exhibited at the months earlier divorced his artist-wife, Jennie V. Cannon.6 By 1918 Alice California Art Club in 1925 and Pasadena Art Institute in 1925 and 1926.13 habitually resided in the Cannons’ former bungalow on Casanova Street Her 1928 contribution to the Pasadena Art Association show at Exposition during the winter and early spring as a “landscape artist;” she was socially Park, A Carmel Morning, was called as “a charming thing with a sky full of quite popular and made occasional visits to Santa Barbara and Pasadena.7 floating clouds.”14 In 1932 she resided at 22 Oak Knoll Gardens. Clark’s Comins also owned property in the Carmel Highlands which she sold in date and place of death are unknown.15 May of 1919 and June of 1922.8 In the late spring of 1921 she sent a letter ENDNOTES FOR F. CLARK: 1. LAT, April 22, 1917, p.3-21. / 2. Ibid., pp.3-4, of appreciation to the Carmel Volunteer Fire Department to thank the men 21. / 3. U.S. Census of 1920 [ED 535, Sheet 9B]. / 4. Appendix 2. / 5. CPC, September 9, 1920, p.3. / 6. BDG, June 11, 1921, p.6. / 7. CPC: July 16, 1926, p.11; for extinguishing a blaze on her property and donated money to improve July 29, 1926, p.11; October 15, 1926, p.11. / 8. CPC, March 15, 1929, p.6. / 9. CPC, their organization.9 She often spent the summers at her cottages in June 24, 1932, p.8; cf. CRM, June 23, 1932, p.3. / 10. Moure, p.B-42. / 11. LAT, Massachusetts and in York Cliffs on Cape Neddick, Maine; she drove January 23, 1921, p.3-2. / 12. As cited in CPC, February 5, 1921, p.3. / 13. LAT: April across country to her seasonal residences.10 12, 1925, p.3-34; August 2, 1925, p.3-26; September 13, 1925, p.3-22; November 15, Alice Comins became an exhibiting member of the Concord Art 1925, p.3-39; November 22, 1925, p.3-44; January 17, 1926, p.3-36; April 4, 1926, p.3- 31. / LAT, July 22, 1928, p.3-36. / Cf., Petteys, p.143; Falk, p.654; Jacobsen, Association and was also active with the National Association of Women 14. 15. 11 p.630; Hughes, p.218; Moure, p.46. Painters and Sculptors in New York City. She exhibited with the San Francisco Art Association in 1918, but there is no evidence that she CHARLOTTE COLBY (1856-1916) was born in New York and contributed to the Annuals of the Arts and Crafts Club. To accommodate migrated with her family to San Francisco in the late 1860s. According to her fine collection of antiques she built a new Carmel home with extensive the U.S. Census of 1870, she resided with her parents, James and Mary 1 gardens and brick terraces on Santa Lucia Avenue near Mission Street in (Maria) Colby, and siblings, Katherine and Frank. In less than ten years the mid 1920s and listed herself in the local Directory as Mrs. Frank B. the family moved into the San Francisco home of Katherine’s husband, 12 2 Comins. Her residence was known as “Tall Timbers.” She also Peter Mathewson. Charlotte reportedly received private art lessons in the constructed a second house of adobe in Carmel Valley. In April of 1927 1880s. In 1895 and 1899 she exhibited watercolors at the California State 3 she contributed Eucalypti to a group exhibition of regional artists sponsored Fair. She displayed at the San Francisco Art Association between 1898 by the Biltmore Hotel of Los Angeles at the Community Center in Oxnard, and 1901 three landscapes of the Berkeley hills, one each of San California.13 In July of 1928 she exhibited at the Carmel Art Association 4 Francisco Bay and Alameda Creek as well as An Old Vegetable Garden. (CAA).14 She displayed her paintings, including Santa Barbara Hills, in the At the 1896 Oakland Industrial Exposition Colby offered four watercolors late spring of 1930 at the private and recently reopened Carmel Art with the titles: A Bit of Yuba River, In the Pines of the Sierra, Alameda Point Gallery.15 She exhibited at the Annuals of the Oakland Art Gallery between and Among the Sierra Pines; two years later at that event her aquarelles 1931 and 1933.16 Her contribution to the 1932 Annual, Soledad, was 5 were said to “have attracted favorable comment.” The first listing in the characterized by H. L. Dungan in The Oakland Tribune as “a cheerful bit of East Bay for “Miss Charlotte Colby, artist,” appeared in the Oakland mountain scenery, somewhat marred by hard outlines;” a year later at that Directory of 1896 with her residence at 295 Claremont Avenue event her Sovranes was described by Dungan as a “colorful landscape with (coincidentally near the corner of Colby Street); she maintained this 6 7 the search for design typical of modernism, yet painted in a more or less address through mid 1906. She briefly resided in Fresno during 1901. impressionistic manner. Farm buildings and sweeping roads and hills – the Like Carl Dahlgren and many Oakland artists, she rented a San Francisco painting is of California in the smiling days.”17 In 1933 Comins also studio. With the destruction of the latter in the great earthquake she leased displayed Sovranes at the State-wide Annual of the Santa Cruz Art a studio-residence in late 1906 at 3107 Lewiston Avenue in Berkeley. League.18 359

In December of 1933 she contributed to the Twentieth usually the winter and spring, and were active in the social scene until Exhibition of the CAA and continued as a regular exhibiting member until 1937.6 The Covingtons made occasional trips to Santa Barbara.7 her death.19 At the CAA show in February of 1935 her work was called: Wickliffe specialized in landscape paintings and especially still “Exciting! A bold venture into the modern by an artist who has undergone a lifes in oval frames. In August of 1920 she contributed three works, Roses, recent and violent change in technique.”20 Her large canvas entitled South San Jose Canyon and The Golf Links in Spring, to the Fourteenth Annual of Carmel was admired at the CAA Gallery in January of 1936 by the art Exhibition of the Arts and Crafts Club.8 Her work appeared that November critic for the Carmel Pine Cone, Thelma B. Miller, who noted that Comins at the Club’s Holiday Exhibition. She exhibited a canvas entitled Bowl of “has attained considerable assurance and conviction in her modernism. Celia Breuner’s Roses in the 1921 Carmel Artists show at the Stanford Bold line, plushy texture and contours, and strong primary colors its University Art Gallery.9 Covington continued to exhibit at the Annuals of distinguishing features.”21 A month later at that venue Miller noted that the Arts and Crafts Club in 1923 and 1924. At the former she displayed Comins “continues to gain power in her particular method. Her fishing Still Life and at the latter a piece entitled Ranunculus. In late June of 1926 village is a bright, sharp design of two-dimensional houses, fat lawns, and a she exhibited her still life studies in a joint show with Celia Seymour at the dancing pattern of white sails on sunlight sea in the background.”22 For the Carmel Arts and Crafts Hall.10 A month later at the private Carmel Art March CAA exhibition in 1936 her interpretation of Mt. Toro was said to Gallery several of her flower studies were displayed, including have “colors that ring like a gong and contours that engage interested Grandmothers Bouquet, described as “the quaintest and sweetest painting attention.”23 In February of 1938 she contributed to the first exhibition of one could imagine.”11 This canvas sold in a few days.12 Her work was CAA members in Salinas.24 She returned to the CAA Gallery in March of included in the general spring display at the Carmel Art Gallery in 1927.13 1938 with her “bright” Village Street which possessed buildings in At that venue from May 26th to June 1st of 1927 there was a small solo variegated colors with “candy striped awnings,” pedestrians and fleeing show of her “Decorative Flower Paintings.”14 When the Carmel Art Gallery automobiles that were collectively “amusing.”25 At that venue in April Sally was reopened in the late spring of 1930, she contributed to the display a Fry, critic for The Carmel Cymbal, evaluated her work:26 “colorful group of flower studies” which included the titles June and Alice R. Comins has two pictures hung. “The Cove” is a Spring.15 In October of 1931 she exhibited the still life entitled The Old Air modern bright canvas. It is a queer combination of delicate and Tight Stove at the Monterey County Fair art show.16 A month later at an art strong colors, with a pleasing handling of blue. “The Old Coast Road” exhibit in Carmel’s Pine Inn she showed a floral still life with “a red-dish is more consistently delicate, and her lavenders are lovely. The copper bowl.”17 In February of 1932 she contributed to the Fifth Annual painting couldn’t depress you even on your bluest Monday. State-wide Art Exhibit of the Santa Cruz Art League.18 The Carmel Pine Cone referred to the latter canvas as “decorative and She became an exhibiting member of the Carmel Art cheerful.”27 Alice donated a painting to the December 1938 benefit Association (CAA) in July of 1928 and contributed to several shows exhibition-raffle on behalf of the CAA Gallery and Albert Bender, the thereafter.19 At the CAA’s Thirteenth Exhibition during the summer of 1930 famous San Francisco art collector, selected her canvas.28 In October of her canvas of Dahlias was selected for display.20 For the Seventeenth 1939 it was noted in The Carmel Cymbal that “Comins’ The Old Coast Exhibition in June of 1932 she contributed Magnolias.21 At the CAA Gallery Road is handled in a stimulating, symphonic manner and dramatizes that in August of 1935 she displayed a “loving” Portrait of a little blond boy in a particular country most spectacularly for us.”29 Again at the CAA in April of scarlet jacket and an “exquisite” Peonies, “blushing blossoms in a pearly 1941 Kathryn Winslow, the new art critic for The Carmel Cymbal, observed vase, the sheer beauty of color and arrangement sensually satisfying.”22 In in her “design of points, hills, roofs, sails and prows . . . a brilliant coloring March of 1937 she offered a “fine” Calla Lilies and a late summer flower and the unrelieved sharpness of angles.”30 The titles of some of Comins’ study in “blazing glory.”23 Mrs. W. C. Covington died in 1938.24 CAA contributions included: Still Life in August of 1938; Carmel Valley Hills ENDNOTES FOR COVINGTON: 1. U.S. Census of 1900 [ED 104, Sheet 13A]. / in February of 1939; The Old Coast Road in September and October of 2. U.S. Census of 1910 [ED 117, Sheet 23A]; U.S. Census of 1930 [ED 114-70, Sheet 1939; Mill Site and Still Life in January of 1940; Portsmouth Backwaters 15B]. / 3. AAA 28, 1931, p.495; 30, 1933, p.475. / 4. Appendix 2; MDC, April 18, and Still Life (“with stylized treatment of petunias and fruit”) in May of 1940; 1911, p.1. / 5. CPC, October 11, 1917, p.4. / 6. CPC: May 19, 1921, p.1; November 31 3, 1921, p.1; April 27, 1922, p.10; September 28, 1922, p.1; December 2, 1922, p.5; and “brilliant” Calla Lilies in September of 1942. Alice Comins died after a February 24, 1923, p.6; April 5, 1924, p.10; May 24, 1924, p.10; November 29, 1924, brief illness on December 28, 1943 in Carmel and her remains were p.8; May 16, 1925, p.8; January 14, 1927, p.4; September 11, 1931, p.9; June 8, 1934, cremated.32 She was survived by two sisters, Mrs. Anne Wilson of p.10; May 21, 1937, p.14; TOT, January 25, 1925, p.S-5; CCY: January 19, 1927, p.6; Pasadena and Mrs. Edith Bird of Boston. February 9, 1927, p.6; Perry/Polk 1930, p.428; McGlauflin, p.101. / 7. CPC, January 6, ENDNOTES FOR COMINS: 1. U.S. Census of 1870 [ED Gloucester, Sheet 120]. 1921, p.1. / 8. Appendix 2. / 9. DPT, June 3, 1921, p.8; CPC, June 30, 1921. / 10. / 2. U.S. Census of 1880 [ED 749, Sheet 25]. / 3. CPC, December 31, 1943, p.3. / 4. CCY, June 22, 1926, p.9; CPC, June 25, 1926, p.11. / 11. CPC, July 16, 1926, p.11. / U.S. Census of 1900 [ED 1073, Sheet 7A]. / 5. AAA 14, 1917, p.455. / 6. CPC, May 12. CPC, July 29, 1926, p.11. / 13. CPC, May 20, 1927, p.10. / 14. CPC: May 20, 3, 1917, p.4. / 7. CPC: January 10, 1918, p.1; April 25, 1918, p.1; February 12, 1920, 1927, p.10; May 27, 1927, p.10. / 15. CRM: May 1, 1930, p.12; June 12, 1930, p.6; p.1; April 27, 1922, p.10; December 23, 1922, p.12; May 29, 1926, p.3; December 10, CPC, May 2, 1930, p.5; SFC, May 18, 1930, p.D-5. / 16. CPC, October 9, 1931, p.8. / 1926, p.3; February 11, 1927, p.4; December 28, 1934, p.20; November 15, 1935, p.14; 17. CPC, November 6, 1931, p.11. / 18. TOT, February 7, 1932, p.6-S. / 19. November 26, 1937, p.13; November 3, 1939, p.9; CCY: February 9, 1927, p.6; June 8, Appendix 4; CSN, June 21, 1934, p.1; CPC, June 22, 1934, p.5. / 20. CRM, July 24, 1927, p.4; U.S. Census of 1920 [ED 15, Sheet 6B]. / 8. CPC: April 24, 1919, p.1; May 1930, p.7. / 21. CRM, June 23, 1932, p.3. / 22. CPC, August 9, 1935, p.7. / 23. 22, 1919, p.3; June 8, 1922, p.10. / 9. CPC, June 2, 1921, p.1. / 10. TOT, May 11, CPC, March 19, 1937, p.6. / 24. Cf., Falk, p.751; Hughes, p.250; Jacobsen, p.719. 1924, p.S-3; CPC: November 29, 1924, p.8; May 10, 1935, p.18. / 11. AAA: 20, 1923, p.480; 22, 1925, p.448; 28, 1931, p.490. / 12. Perry/Polk 1930, p.427. / 13. The WALTER I. COX (1866-1930) was born on May 4th in England Oxnard Daily Courier, April 9, 1927, p.1; CPC, April 22, 1927, p.10. / 14. Appendix 4. / and received his art training in Paris under Jules Joseph Lefebvre, Jean 15. CRM: May 1, 1930, p.12; June 12, 1930, p.6; CPC, May 2, 1930, p.5; SFC, May 18, Paul Laurens and Benjamin Jean-Joseph Constant. Although he quickly 1930, p.D-5. / 16. TOT, March 1, 1931, p.S-11; BDG, March 18, 1932, p.7; CPC, specialized in portraiture, he also executed landscapes which displayed March 24, 1933, p.8. / 17. TOT: March 13, 1932, p.6-S; April 9, 1933, p.8-S. / 18. th 1 Catalogue, Sixth Annual State-wide Art Exhibit of Paintings, Santa Cruz Art League, that peculiar 19 -century English sensitivity for the rendering of vegetation. February 5-19, 1933, p.3; TOT, February 12, 1933, p.8-S. / 19. The titles of her Early in 1905 he and his wife, Lavenia, arrived in San Francisco from submissions and any significant commentaries are inserted in the text; the following Canada and set up a studio-residence at 1835 Sacramento Street; they references provide some of the dates for her participation in CAA exhibitions: Appendix were listed in the City Directory.2 The Argonaut reviewed the studio 4; CSN, April 19, 1934, p.4; CPC: March 8, 1935, p.9; March 18, 1938, p.2; July 28, exhibition of Walter Cox that spring:3 1939, p.11; November 10, 1939, p.4; February 13, 1942, p.12; May 7, 1943, p.3; TOT, If merit counts, the success that Mr. Cox achieved in March 31, 1935, p.7-S; CCY: June 10, 1938, p.12; August 5, 1938, p.2; February 10, 1939, p.10; July 7, 1939, p.3; November 17, 1939, p.3; May 15, 1941, p.9. / 20. CPC, England should be repeated here. In fact, he has already done two February 8, 1935, p.8. / 21. CPC, January 17, 1936, p.5. / 22. CPC, February 7, portraits since his arrival that have been attracting no end of 1936, p.10. / 23. CPC, March 20, 1936, p.6. / 24. CPC, February 18, 1938, p.7. / 25. favorable comment. One of these is of his Grace, the Most Reverend CCY, March 11, 1938, p.9. / 26. CCY, April 8, 1938, p.13. / 27. CPC, April 29, 1938, Archbishop Patrick Riordan, and the other is of Archbishop George p.16. / 28. CPC, December 23, 1938, p.2. / 29. CCY, October 13, 1939, p.10. / 30. Montgomery. In both of these not only have striking likenesses been CCY, April 18, 1941, p.12. / 31. Evidence indicates that most of her submissions were obtained, but the coloring, drawing, and harmony of colors are oils: CPC: August 26, 1938, p.14; February 17, 1939, p.2; September 29, 1939, p.3; January 12, 1940, p.2; May 17, 1940, p.12; September 18, 1942, p.12. / 32. California particularly pleasing. . . . . Death Index; CPC, December 31, 1943, p.3; cf., Kovinick, p.352; Falk, p.705; Petteys, Mr. Cox has several portraits of children that show a deep p.154; Hughes, p.235; Jacobsen, p.678. sympathy with and insight into child nature. His double portrait (a profile and a full face of a girl on the same canvas) is exquisitely WICKLIFFE COOPER COVINGTON (1867-1938) was born in beautiful in its soft tone, the sweetness of expression, and in the life- July in Kentucky. According to the U.S. Census of 1900, she had been light that shines from the eyes. . . . Yet where strength and married to her farmer-husband, Robert William Covington, for eight years ruggedness are needed, Mr. Cox is not lacking. His portrait of Judge and had a son and two daughters.1 They resided in Bowling Green, Macaulay of Canada shows a vigorous, virile man. And – most Kentucky, and maintained this residence for the next four decades.2 She difficult of all – Mr. Cox has painted a remarkably good self portrait of received her art training under Kenyon Cox and William Merritt Chase at himself. In another mood, and remarkable for its life and movement, the Art Students League in New York City.3 She was an exhibiting member is the portrait of a lady going up a flight of steps. of the: Louisville Art Association, Mississippi State Art Association and Shortly thereafter the Coxes returned to Victoria, British Columbia, and Southern States Art League. Her first recorded visit to Carmel was during officially immigrated to the United States that November. At his March the spring and summer of 1911 when she exhibited “tooled leather” at the 1906 studio exhibition were portraits and landscape studies from the Annual of the Arts and Crafts Club.4 She returned in October of 1917 with previous summer. The Argonaut remarked on his depictions of San her two daughters and “rented the Reardon cottage for an indefinite time.”5 Francisco’s society beauties:5 By 1920 she and her husband had established a seasonal residence in The exquisite drawing of the features and the deep, dark Carmel. In February of 1923 they opened their new studio-home on eyes are eloquent tribute to the artist’s genius . . . . The lines of Thirteenth Avenue near Camino Real where they spent part of every year, expression in the face, the sheen of the velvet gown, even the 360

intricate pattern of the rare old Irish lace, are faithfully preserved. . . . production of portraits, he offered his well-publicized services as co-host at The luxuriant blonde hair on the graceful neck, the finely modeled the Ritz-Carlton “Benefit for the Blind” and the Waldorf-Astoria bazaar to nose and chin, depict all the innocence of youth. aid the Home for Aged Musicians.27 He was appointed a director of the Although the earthquake that April spared his studio, the ensuing fire Academy of Arts and an editor of Talk of the Town. For over a decade his destroyed the entire block. When the flames neared his quarters, he and brother, Snead Cox, had been the society editor of The London Tablet and his wife hurriedly cut canvases from the frames. a well-respected biographer.28 Walter Cox shared his financial success Within weeks the Coxes had had moved to Berkeley. He with friends and on one occasion he hosted at the Park Lane a lavish established a new studio at 2506 Bancroft Way and began to teach art birthday party for Beniamino Gigli, the renowned tenor at the Metropolitan classes.6 His affable personality, “refined” accent, and obvious talent won Opera, with four hundred “prominent” guests.29 him many admirers. In addition to his portraits, he executed numerous Cox’s life was also marked by tragedy. In the fall of 1926 a fire landscapes, including a series on the Klondike, twenty of which were swept through his New York studio at 108 Fifty-ninth Street and destroyed displayed in his Berkeley studio. He was also at work on a “dim light over forty years of work, “between 200 and 300 valuable paintings.”30 On masterpiece” entitled The Last Supper of Gironde. This piece of historical April 20, 1930 he traveled to Alexandria, Virginia, with the commission to genre, which measured forty-eight by forty-eight inches, was described by paint the official portrait of the Secretary of War. Ten days later he died the local press as “a study on the conditions of the French Revolution.” In from “complications brought on by grip which culminated in uremic coma.”31 the spring of 1907 Cox sent many of his paintings, including recently Walter Cox was buried in a vault at Ivy Hill Cemetery in Alexandria, completed Berkeley landscapes, for a solo exhibition in the Kilby Art Virginia; his pallbearers included the current British Ambassador, the Gallery at 1652 Van Ness Avenue in San Francisco.7 That December he Secretary of Labor, three United States senators and three members of the exhibited portraits at the First Annual of the Berkeley Art Association.8 He House of Representatives, including a former Majority Leader.32 was not mentioned as a Berkeley resident after May of 1909.9 ENDNOTES FOR COX: 1. B & B, December 10, 1997, Nos.3230-32. / 2. Crocker In 1908 he established a small San Francisco studio at 1801 1905, pp.510, 1999. / 3. TAT, April 24, 1905, p.282. / 4. California Passenger and California Street and listed his “gallery” at Kilby’s. Thereafter he frequently Crew Lists, British Columbia to San Francisco aboard the S.S. Queen, arrived changed his studio address in that city.10 In the summer of 1909 he moved November 27, 1905. / 5. TAT, March 17, 1906, p.175. / 6. TCR: August 18, 1906, p.6; September 22, 1906, p.11. / 7. TCR, March 30, 1907, p.13; SFL: April 1, 1907, p.14; his residence to the Easton area (modern San Bruno, south of San April 5, 1907, p.3. / 8. Appendix 1, No.2. / 9. SFL, May 16, 1909, p.39. / 10. Crocker: Francisco) where he sold watercolors and oils from his “improvised 1908, pp. 492, 1006; 1909, p.447; 1911, pp.457, 1787; 1912, pp.473, 1833; 1914, studio.”11 From the U.S. Census of 1910 we learn that he and his wife had p.519. / 11. TCR, September 18, 1909, p.14; SFL, September 12, 1909, p.31. / 12. returned to San Francisco with an address at 1620 Van Ness Avenue.12 U.S. Census of 1910 [ED 288, Sheet 18A]. / 13. SFL, March 20, 1910, p.34. / 14. He kept his summer studio in Easton where “the most prominent members SFL, May 15, 1910, p.45. / 15. SFL, December 1, 1912, p.49. / 16. SFC: December of the Burlingame set” sat for portraits that were characterized as “graceful 14, 1913, p.62; December 28, 1913, p.21. / 17. SFX: April 19, 1914, p.18; May 1, 1914, p.11; SFC, May 24, 1914, p.27. / 18. SFC, June 28, 1914, p.30. / 19. SFC, and perfect, the flesh tints and the expression of the eyes being particularly December 27, 1914, p.25. / 20. SFL: May 29, 1910, p.42; June 5, 1910, p.44; June 12, 13 true to life.” At this time he completed a number of children’s heads. As 1910, p.44; July 3, 1910, p.42; NYT, June 14, 1914, p.M-2. / 21. SFC, February 18, there was far more money in portraiture he increasingly neglected his 1917, p.18. / 22. B & B, June 11, 2003, No.4155; cf. B & B, June 25, 1998, Nos.5367- summer sketching in the countryside, but continued to display at Kilby’s 68. / 23. U.S. Census of 1920 [ED786, Sheet 2B]. / 24. WHP, October 24, 1921, p.6. several local landscapes as well as his country scenes from England.14 In / 25. WHP: December 2, 1923, p.6-A; December 8, 1923, p.30; December 9, 1923, p.9. the late fall of 1912 Porter Garnett, art critic for the San Francisco Call, / 26. WHP: June 1, 1924, p.3-A; June 8, 1924, p.3-A. / 27. NYT: January 4, 1925, p.7- 9; November 28, 1926, p.2-6. / 28. SFX, April 19, 1914, p.18. / 29. NYT, March 21, visited Cox’s Van Ness studio, but found it impossible to judge the merits of 1927, p.23. / 30. NYT, November 14, 1926, p.3; The Titusville Herald (Penn.), Nov. 15, 15 his work due to extreme overcrowding. A year later Cox contributed to a 1926, p.1. / 31. NYT, May 1, 1930, p.29; WHP, May 1, 1930, p.24; AAA 27, 1930, Sequoia Club exhibition and held “an informal exhibit” at his Green-Street p.408. / 32. WHP, May 12, 1930, p.2; cf. Falk, p.757; Hughes, p.252; Jacobsen, p.724. studio where topics for his “portraiture and scenes” ranged from “classic to (1880-1930) was born on 16 THEODORE MORROW CRILEY allegorical.” He staged a major solo exhibition at San Francisco’s Palace March 26th in Lawrence, Kansas. According to U.S. Census in June of Hotel in 1914. Here the “celebrated English artist” rented rooms and 1880, the three-month-old Theodore lived with his parents and two older offered a variety of Bay Area landscapes, historical scenes and celebrity sisters on Kentucky Street.1 His father, Ezra, listed his occupation as 17 18 portraits. The show was extended by popular demand. His “clever “theatre keeper;” he eventually moved the family to Lincoln, Nebraska, and portrait” of James Wood, the manager of the St. Francis Hotel, elicited this purchased his first hotel. Ezra acquired similar properties in Kansas City response from the art critic of the San Francisco Chronicle, Anna Cora and Chicago. When Theodore Criley applied for a passport in 1901, he 19 Winchell: listed his occupation as “hotel cashier” and was described as five feet eight . . . . Cox rigidly adheres to the English school of painting, inches tall with brown eyes, curly hair and a large nose.2 A year later, which advocates the utmost circumspection in the usages of lines, when he was studying art at a university in Berlin, he met the Ohio-born pigments and general presentment. He has, also, an aptitude for Mary Myrtle Brotherton. In 1904 the two married in Los Angeles and the individualities and has transferred the features of James Wood well to following year their first son, Theodore B. Criley, was born. Shortly canvas. thereafter they moved to Chicago where he briefly managed the Lexington His paintings of society matrons and their children were regularly Hotel and began his studies at the Art Institute of Chicago. From the U.S. reproduced in the Call and began to appear as illustrations in East Coast Census of 1910 we learn that the couple resided on fashionable 20 newspapers. His 1917 portrait of Rennie Schwerin at Gump’s Gallery Washington Avenue with their son and one servant.3 His official was characterized as a “faithful likeness,” but created “along the most occupation was listed as “own income,” a designation reserved for those 21 conservative lines.” Prior to his permanent departure from the West who needed no employment due to sufficient wealth. In 1911 he continued Coast, he executed his masterful study of a barnyard entitled Willotta his training in Paris at the Académie de la Grande Chaumière under Lucien 22 Ranch-Suisun-California. Simon and Émile Ménard; he exhibited at the Salon two years later.4 His By 1919 the Coxes had their primary residence in New York second son, Richard, was born in France in 1911. In the fall of 1913 the City. According to the U.S. Census of 1920, the couple resided on West Crileys briefly returned to New York City.5 They apparently sailed back to 23 Forty-fifth Street in Manhattan. Here he painted portraits of the wealthy, France the following spring and listed their Paris address as 6 Rue Joseph including Lady Astor and several European princes. By fall of 1921 the Bara.6 The start of World War I in the summer of 1914 forced their return. Coxes had relocated to Washington, D. C. where his recent canvas of Theodore moved his family to Monterey in 1916 and frequently visited President Harding made him one of the eminent portrait artists; that Carmel.7 With the profits from the sale of his hotel business he purchased October as the guest of honor at the Washington Salon and United Arts a nine-acre lot at the seaward edge of the Carmel Highlands near Point 24 Society he lectured on “The Future of Art in America.” A feature article in Lobos.8 There in 1917 he began to build a studio-home that was known The Washington Post reviewed the largest solo exhibition of his career ultimately as “The Three Corners.”9 During construction the Crileys rented 25 which opened on December 8, 1923 with a lavish reception: in Carmel the Harrison bungalow on Casanova Street and later the Graham The National Art Center announces the opening this house.10 On his 1918 draft registration card Criley listed his profession as afternoon of the largest one-man show ever held there, an exhibition “retired;” there is no indication that he was unfit for military service.11 of over 70 portraits by Mr. Walter I. Cox, an English painter now He was actively involved in Carmel’s art community and could resident in Washington, besides 100 landscape sketches painted in be characterized as conspicuous on the local social scene with his well- and about the city. . . . publicized attendance at birthday celebrations, cocktail parties, banquets . . . . Mr. Cox has exhibited in New York, Montreal, San and benefits; even his motor and camping trips to such exclusive venues Francisco, Salt Lake City, and other important art centers. His as San Simeon were dutifully recorded in the press.12 The U.S. Census of portrait subjects include the late President Harding, from life; Chief 1920 shows that his daughter, Cynthia, was over four years old and his Justice Taft; Dean Howard L. Hodgkins, of George Washington occupation was officially listed as “artist.”13 He was periodically registered University; Bishop Glass, of Salt Lake City; Sir Robert Borden, as a “Republican” on the Carmel voter index.14 Criley acted in a number of premier of Canada; Dr. J. Stanley Durkee, of Howard University; Forest Theatre productions, including: Robin Hood in 1919, Yellow Jacket Gertrude Atherton; and among social leaders here a number of well- in 1920 as well as Pomander Walk and Twelve Pound Look in 1921.15 The known names. Carmel Pine Cone reported in August of 1919 that one of the several plays His portrait of Chief Justice Taft was hung in the new Supreme Court he authored, When a Man’s Lonely, “may be put on by Reginald Travers at Building. He not only painted Washington’s elite, but he also donated his the New Theatre in San Francisco.”16 He even served as president of the art to their charitable events and exhibited their portraits with increasing local school board.17 In March of 1922, when Criley fought and won a very 26 frequency. As the cousin of Sir Esme William Howard, the “counselor” at formal and bloody “duel of fists” with the noted playwright and author Harry the British embassy, Cox moved in the highest political circles. In the mid Leon Wilson, Carmel was collectively humiliated as the sordid details of 1920s he and his wife relocated to New York City. In addition to a steady their long-standing feud made banner headlines in the San Francisco 361

Examiner and were given prominent coverage across the country, including tendencies have not been confirmed by a reliable source. As part of the the Los Angeles Times and New York Times.18 It was revealed that their obituary in The Carmelite Martin Flavin addressed Criley rhetorically: “You argument had its origins in “a light romantic” love scene between Criley and dealt with ideas as you dealt with life, directly and boldly. In everything you Mrs. Wilson in the 1921 production of Pomander Walk at the Forest undertook you had the same fine courage . . . .You loved life, Theodore.”46 Theatre.19 Harry Wilson sent Criley a series of accusatory letters that led to In the Pine Cone obituary James Hopper detailed Criley’s familiar habits the altercation. Eventually, the Wilsons divorced.20 Mrs. Criley, “who had and added that he “never painted a tenth as much as he wanted to paint been under a doctor’s care since the affair,” persuaded her husband to and his emotional nature sank every now and then into an abyss of self return to Paris in the spring of 1922.21 On his passport application he listed reproach and self accusation of failure . . . . optimism, though dwelling in the purpose of his visit as “study & travel.”22 In Paris the Crileys him. . . . would be soaring again.”47 A memorial exhibition of thirty-five of entertained visiting Americans at their “charming apartment on the his watercolors was held at the Stanford University Art Gallery in November Boulevard St. Germain.”23 By the summer they were residing in Oxford.24 of 1932 and included Sagunto-Spain as well as scenes of Morocco, France In the fall of 1923 the Crileys sailed from Antwerp to Montreal and then and Carmel.48 The Pine Cone summarized Criley’s talents: “His rendering returned to Carmel; they sold their Carmel Highlands home in 1928, but of his medium not only shows his masterly use of aquarelle, but he has continued to live in the area.25 faithfully noted those fleeting moments of light and shadow which the lover His record of exhibitions is modest. In 1916 he began to exhibit of nature carries as a pleasurable memory.”49 with the San Francisco Art Association (SFAA) where he occasionally ENDNOTES FOR CRILEY: 1. U.S. Census of 1880 [ED 67, Sheet 6]. / 2. U.S. contributed paintings or “wood cuts” into the late 1920s; at the SFAA’s Passport Application No.43287, issued on June 10, 1901 in Jackson, Missouri. / 3. Forty-eighth Annual in April of 1925 he displayed two watercolors: Jaira U.S. Census of 1910 [ED 393, Sheet 6A]. / 4. SFC, May 1, 1921, p.6-F. / 5. New York and Ghost Cypress.26 There is no evidence that he was ever an exhibiting Passenger Lists, London to New York City, arrived October 13, 1913; T-715. / 6. AAA 12, 1915, p.352. / 7. CPC: March 29, 1916, p.4; June 14, 1916, p.2. / 8. AAA: 14, member of the Carmel Arts and Crafts Club. Criley painted in the Carmel 1917, p.461; 16, 1919, p.345; 20, 1923, p.487. / 9. Perry/Polk 1922-23, p.4; Bostick, Highlands with his close friends William Ritschel and John O’Shea. His p.59. / 10. CPC: June 14, 1917, p.4;June 28, 1917, p.4; October 18, 1917, p.1; “impressionist” landscape entitled That Way Danger Lies at the Cannell & November 1, 1917, p.1; November 15, 1917, p.1. / 11. WWDR, No.773-4159, Chaffin Galleries in Los Angeles was described in 1920 by Antony September 12, 1918. / 12. CPC: April 24, 1919, p.1; April 22, 1920, p.1; June 29, Anderson as “splendidly big in its handling, a daring performance 1922, p.4; December 10, 1926, p.3; December 14, 1928, p.14; TOT: January 13, 1924, successfully carried out.”27 He held his only San Francisco solo exhibition p.S-3; April 6, 1924, p.S-5; July 6, 1924, p.8-S; September 14, 1924, p.S-5; June 28, 28 1925, p.S-3; November 29, 1925, p.S-3; January 3, 1926, p.2-S; July 25, 1926, p.S-3; in April and May of 1921 at the Helgesen Gallery. His seventeen August 1, 1926, p.S-5; LAT, July 14, 1928, p.2-1. / 13. U.S. Census of 1920 [ED 14, paintings, which were primarily seascapes and landscapes of Carmel and Sheet 6B]. / 14. CVRI, Monterey County: 1918, 1920, 1928, 1930. / 15. CPC: June Point Lobos, were said by Norma Abrams, art critic for the San Francisco 20, 1918, p.1; April 14, 1921, p.1; TOT, July 5, 1920, p.20. / 16. CPC, August 7, 1919, Chronicle, to have the “modernist’s use of color and bold composition”.29 p.1. / 17. CPC, June 8, 1922, p.1. / 18. SFX, March 30, 1922, pp.1,3; NYT, March 31, The artist Jennie V. Cannon reviewed this same exhibit for the Berkeley 1922, p.13; LAT, March 31, 1922, p.1-13. For further information on the Criley-Wilson Daily Gazette and made several important observations:30 altercation refer to the narrative in Chapter 7. / 19. CPC, June 2, 1921, p.1. / 20. TOT: March 23, 1926, p.6; March 26, 1926, p.8-S. / 21. CPC, June 29, 1922, p.4. / 22. U.S. Perhaps the first impression gained is that of surprise at Passport Application No.150525, issued on April 21, 1922 in Los Angeles. / 23. LAT, the brilliance of color, in warm tones that one is not accustomed to March 20, 1923, p.2-6. / 24. MDC, August 23, 1922, p.4. / 25. Border Crossings: associate with Carmel landscape. I like the landscapes in this new Canada to U.S., arrived in Montreal on November 3, 1923; CPC, September 14, 1928, guise, however, and feel inclined to congratulate any painter who can p.2. / 26. TOT: November 12, 1916, p.27; April 22, 1928, p.S-7; BDG, April 26, 1924, thus see it. Mr. Criley has apparently learned much from the modern p.5; CPC, May 10, 1924, p.3; CRM, April 25, 1928, p.7; SFAI. / 27. LAT, November 7, art movements and makes happy use of the best in these. The 1920, p.3-2. / 28. CPC: May 12, 1921, p.4; April 28, 1921, p.8. / 29. SFC, May 1, 1921, p.5-F. / 30. BDG, April 30, 1921, p.8. / 31. TOT, May 8, 1921, p.S-7. / 32. application is with him, one would suspect entirely unconscious. I CPC, May 26, 1921, p.4. / 33. BDG, May 21, 1921, p.6. / 34. TOT, September 27, would say that his entire exhibit with the exception of one picture 1925, p.6-S. / 35. CPC, June 18, 1926, p.11. / 36. CCY: July 27, 1926, p.13; August might be cited to an enemy of the cubist and futurist movements as 3, 1926, p.13; CPC: July 29, 1926, pp.7, 11; August 6, 1926, p.11; SFC, August 8, an instance where art has benefited by those schools. Many are 1926, p.8-F. / 37. CPC, October 15, 1926, p.11. / 38. Appendix 4. / 39. ARG, unwilling to admit that their influence has had any beneficial effect. November 1927, p.11. / 40. BDG, November 3, 1932, p.8. / 41. TOT: October 7, Two of the canvasses remind me of some of Mr. [John] O’Shea’s. 1917, p.20; December 11, 1927, p.8-S; SFC, December 18, 1927, p.D-7; CPC, December 30, 1927, p.4. / 42. B & B, June 24, 1992, No.6329; cf. Donovan and This similarity again would be the influence of the modern Nelson-Rees, p.73. / 43. CPC, January 25, 1929, pp.13f. / 44. Border Crossings: movements on both artists rather than the influence of one artist on Canada to U.S., arrived in Quebec on July 6, 1930. / 45. NYT, October 7, 1930, p.29; the other I take it. One likes the direct way in which the painting is cf., Donovan and Nelson-Rees, pp.59-76; Falk, p.774; Jacobsen, p.742; Hughes, p.257; done. Very handsome in color and cubistic construction is the Seavey, p.14. / 46. CRM, October 9, 1930, p.2; cf. p.194 above. / 47. CPC, October canvas facing as one enters. . . . 10, 1930, pp.1f. / 48. BDG, November 3, 1932, p.8. / 49. CPC, Nov. 4, 1932, p.8. Laura Bride Powers, art critic for The Oakland Tribune, was enthusiastic, CHARLES MATTHEW CROCKER (ca.1872-1950 / Plate 7) 31 but somewhat circumspect: was born in a log cabin on September 28th near Hudsonville, Illinois, to an But there is a hardness in his boldness that only years of impoverished family of southern migrants.1 In 1880 he lived in Jasper patient service and devout labor will overcome. There is a vitreous County, Missouri, with his father, William, his mother, Martha, two older feeling in the water of many of his canvases – concepts that are nobly sisters, Sarah and Mary, and his younger brother, William, Jr. According to conceived and in phases finely expressed. . . . his 1931 interview and biography in the Los Angeles Times, the “large, On the whole, the exhibition is highly interesting, bringing active, red-headed” Charles Crocker was compelled to leave school in the to the front a man advancing into middle life who until recent years third grade and “did practically no reading,” but found his education by had not felt the impulse to paint strongly enough to succumb to it. . . . wandering the “open country” until he discovered at the age of twenty-one The renowned watercolorist, Percy Gray, provided this short review for the the poetry of Ralph Waldo Emerson and Walt Whitman.2 In 1893 he Pine Cone: “There is a man here exhibiting at Helgesen’s named Theodore resided at 365 East Center Street in Decatur, Illinois, where a year later he M. Criley . . . he has a good number of oils of scenes around Carmel. They began two summers of art training under Jean Mannheim.3 He continued are very strong and big in treatment, and very good in color. It is his first his education with J. Francis Smith at the Art Institute of Chicago. In 1898 32 exhibition and I think he is going to do good work.” This exhibition was he listed himself as an “artist” in the Chicago Directory with an abode at 93 33 moved to the gallery in the Architecture Hall at the U.C. Berkeley campus. Sedgwick Street; thereafter he moved to 639 Cleveland Avenue and by Criley contributed in the fall of 1925 to the Inaugural Exhibition 1901 listed his residence at 436 North Clark Street, Chicago.4 He returned at Oakland’s Mills College Art Gallery where he served on the “advisory art to Decatur in the fall of 1898 for a one-man exhibition of his work at the 34 committee.” Myron Oliver staged at his Mission Art and Curio Store in the local Woman’s Club and on August 14, 1901 to marry Emma Grace 35 late spring of 1926 a small solo show of Criley’s paintings. In August of Trump.5 He migrated with his wife to San Francisco “on account of his 1926 he held a one-week solo show of his “powerful” landscapes and health” about 1904; at that time he was making sketches and Tonalist portraits from southern France and the Monterey Peninsula at the Carmel watercolors in the redwoods of Marin County.6 Immediately after the 1906 36 Arts and Crafts Hall. Two months later he contributed one work to the earthquake the couple fled to Berkeley where the local Directory recorded 37 opening of new Hotel San Carlos Art Gallery in Monterey. In October of this “artist” as renting rooms and a studio at 2216 Dana Street.7 According 1927 Criley displayed an oil at the Inaugural Exhibition of the Carmel Art to a local weekly, The Courier, “his eyes were in poor condition” and he 38 Association (CAA). The Argus of San Francisco characterized his reportedly did no outdoor sketching until the early spring of 1908.8 During submission to this show as an “academic portrait of Dr. McDougall of the this two-year hiatus he intently delved into the study of eastern religions Carnegie Laboratory . . . . a solid painting and a creditable contribution to and western metaphysics to create a philosophical basis for what became 39 the group.” That was his only contribution to a CAA exhibition. At the his revolution in painting. When Jennie Cannon met the artist in the fall of International Water Color Exhibition of 1928 in Chicago one of his exhibited 1907, he seemed perfectly healthy and willingly showed off his numerous 40 subjects was Sagunto-Spain. Criley’s other exhibitions included the Red canvases.9 By this time the Crockers had moved to an address at 2210 Cross Benefit “Auction Comique” of 1917 in Oakland and the Christmas Ellsworth Street and he continued to produce in his studio for the popular 41 Exhibition at the East-West Gallery of San Francisco in 1927. At the 10 th market a number of Barbizon-inspired canvases. The profits from these 119 Annual of the Pennsylvania Academy of Fine Arts he displayed works paid for his family’s expenses as well as his experiments with a very 42 Windblown Cypresses-Carmel Highlands. vibrant “Psychic Impressionism.” Between January of 1929 and July of 1930 he made his last trip The first public showing of the latter was politely received by to Europe and north Africa with his entire family and took up sculpting in conservative Berkeley. The anonymous reviewer of the 1908 Christmas 43 addition to his sketching. On his return he sailed from Le Havre and Exhibition at Offield’s Gallery remarked that Crocker’s watercolors of local 44 docked in Quebec in July of 1930. Theodore Criley died on October 6, landscapes were “of the impressionistic school and cannot be compared 45 1930 reportedly from a heart attack in Palo Alto. Reports of his suicidal with any other in Berkeley. . . . He works in a style exclusively his own, and 362 the more one sees of his work, the better it seems, even to those who are Crocker believed that a better market for his groundbreaking prejudiced against the impressionistic school of art.”11 By December of work was across the bay. While he maintained his Berkeley atelier- 1908 he had settled into a large very fashionable studio-residence at 1538 residence until 1914, he opened a “public” studio in March of 1911 in the Bonita Avenue in north Berkeley.12 A local critic, who visited the new Whitney Building at 133 Geary Boulevard in San Francisco.21 By 1915 atelier, offered the following assessment:13 Crocker and his wife, Grace, were listed as residents of 901 Golden Gate Landscapes and forest scenes are more in his line than Avenue in San Francisco. A year later their new address was at 117 Post portraits, although he has executed some very creditable heads. He Street.22 San Francisco critics were generally positive, but their somewhat paints in rich, warm colors which are refreshing after the black, hesitant and naïve assessment of his new paintings initially caused Crocker gloomy scenes so often seen in galleries. In his studio are some to display in public his dark earlier work. In February of 1911 at the St. twenty canvases, his work since the condition of his eyes warranted Francis Hotel exhibition of “East Coast Artists,” which contained several his returning to the brush and palette. The most notable of these is examples of Childe Hassam, Crocker’s paintings were included and called “The Passing Storm,” showing a forest, the great tree being bent by “exceedingly dramatic” by Katherine Prosser, art critic for the San the mighty wind, and the clouds hurrying across the sky. Another Francisco Call, who compared his “woodland pool” – a commonplace in scene, called the “Calm of Nature” shows the sunlight, and the Barbizon work – to Cadenasso’s work.23 A month later at the opening elements in a state of rest. exhibition in Crocker’s studio Prosser erroneously referred to the artist as a His increasing popularity brought an invitation to exhibit in the following “recent” arrival from Chicago and characterized his studies of the Berkeley year at Seattle’s Alaska-Yukon-Pacific Exposition.14 In 1910 he purchased hills and bay scenes as “wonderfully charming.”24 Also in March Offield a walnut ranch on rural Route 5 outside of Santa Rosa near the property of staged at the St. Francis Hotel a solo exhibition of Crocker’s dark paintings his long-time friend, Oscar Lovell Triggs, a retired literature Professor from that were “likened to Keith” and several of his portraits, including one of the University of Chicago.15 Here Crocker communed with his beloved Elbert Hubbard, “which in its masterful character interpretation is a moss-covered oaks and the new stands of eucalyptus. The artist believed wonderfully strong piece of work.”25 In the summer of 1911 he made his that “trees have personality” and he used “them symbolically and occultly to first foray into the art world of Los Angeles with three “sunset paintings” at produce moods of mind” on canvas.16 The adoring Triggs, who later the Gould Galleries. One of the local critics called them “poems full of wild likened Crocker to William Blake, encouraged him to publish articles and regret – lyrics breathing tenderness and sorrow.”26 the occasional polished art review for the Berkeley Daily Gazette. Within The Santa Rosa Public Library, which had a history of Crocker’s lengthy essay on the Inaugural Exhibition at Offield’s Temple of displaying works by such notables as Thomas Hill, invited Crocker to Fine Arts the newspaper included a photograph of the handsome painter.17 assemble a solo exhibition in mid November of 1913. The show opened He was also a major contributor to that show.18 with lectures by Rev. C. W. White and Crocker himself. The titles of his At his Berkeley studios Crocker staged fashionable “salons” thirty-seven paintings were listed on the front page of the local newspaper where groups of musicians and literati from the University premiered their and revealed that the exhibition was a retrospective that included his avant-garde works. Jennie Cannon offered a brief description of this earliest Barbizon works and controversial “modern” pieces, for example: cultured bohemia.19 He frequently composed poetry and maintained Evening Gray, The Silent Pool, Silent Nocturne, Symphony in Gray, Mystic friendships with Jack London as well as John Burroughs; the latter visited Hour, Brother Oak, He Rides, Conflict and from his recent stay in Carmel, his studio in the spring of 1909. Crocker reportedly held his audiences Monterey Cypress and Sand.27 spellbound with long recitations of theories that his brightly colored During the next few years he sent paintings for exhibition to paintings were the byproduct of an emotional and subconscious private galleries in Chicago and along the Atlantic coast. Unfortunately, his interpretation of reality during meditation. His most dedicated patron in strident invectives against the “realist” painters alienated a number of Berkeley, the art dealer H. G. Offield, published for a 1912 exhibit Crocker’s influential artists and his work was unfairly excluded from the Panama- Art Thesis which incorporated religion and philosophy, especially the theory Pacific International Exposition of 1915. In 1916 he contributed to the of forms first expounded in Plato’s Republic. Extensive citations of this Second Exhibition of California Artists at San Francisco’s Golden Gate Thesis were made by Sheldon Cheney in the San Francisco Call, Park Memorial Museum as well as to the San Francisco Art Association.28 “forcefully summing up the artist’s creed:”20 He also staged an exhibition of “portraits, landscapes and figures” at his Crocker looks forward to “a future art founded on idea and new Post-Street studio and took his work on a traveling show through emotion, in color, under subconscious direction.” northern California and Reno, Nevada.29 In the late fall of 1919 he “We begin to suspect,” he writes “the actuality of a great presented to the somewhat conservative and definitely unprepared art color art of suggestion in painting.” He again puts the question “Shall world of San Francisco his most radical paintings to date. Crocker’s agent not color art rise above nature as music does above natural sound?” rented the Laurel Court at the very fashionable Fairmont Hotel for a He takes some strong raps at those who slavishly copy fortnight.30 It was the first venue for this solo exhibition, which was nature. He speaks of “pictures emanating from the large class of scheduled to open in Pasadena on December 15th and thereafter in vulgar realists who paint an intellectual imitation of visual nature.” He Chicago and New York. Visitors to the Fairmont were greeted not only with continues: “The world has too long sought to interpret the meaning of his striking visual creations, but also with very modern musical pieces, nature and man through the intellect, and most art has stood for a including vocal solos, and readings from his own poetry. The latter was certain classical, conventional, ordained, perfected excellence soon to be published in a “Book of Verse.” The art critic from the San beyond which man shall not pass. But I believe that humanity is now Francisco Chronicle, a rather provincial Anna Cora Winchell, summarized capable of receiving ideas, emotion and beauty through a color art the general sentiment:31 not dependent on intellectual mimicry. We should not worship form . . . . the subjects . . . are not within the mental scope of for the sake of form, but our art should reflect idea, mood, strain, many viewers. . . . Crocker’s work is largely problematical, though brought out of the artist and hung on as much or as little form as some of the pictures are wholesome and have beauty. needed. . . . And when we gain the power to transfer without loss “Desert Sunset” sends forth impressiveness and has these uprisings in our breast they will not necessarily refer to been painted along strong, fearless lines. Much of his work had been particular locality, nationality of landscape, seasons, places, moods of done solely with the palette knife . . . . “Creation” delves so deeply nature, but will seek to give adequate construction to the formless art into the mystic that one person’s imagination regarding it is as good of our consciousness.” as another’s. “Color Thought” reveals a mass of paint which, when In this summing up of his creed one catches glimpses of a viewed from afar, faintly suggests a primitive village. . . . The faith and feeling akin to that of Whitman: “True art forever rises right exhibition is interesting, especially as a decided contrast to anything out of the soul, fresh, new, superb, free, recreating the world and shown for some time in the local world. projecting the spiritual states of the mind of man. I part utterly and Laura Bride Powers, who was a veteran reviewer on the local art scene for forever with visual nature and intellectual form as art, and demand over twenty years, found more that was redeeming for her readers in The that color belongs to the soul through which to breathe its wondrous Oakland Tribune:32 life. I stand with the soul and place a man ahead of nature and It has always seemed that he was en rapport with nature beauty, leading, nature and beauty following behind. I place soul in her dramatic moods, at times reaching a sublime note in his above all, beyond all, containing all, and deny the thought that man translation of her message . . . . at times the full concept has been must copy nature to produce great art, for art should tend from within marred by a murky mixture of pigment, a muddiness, . . regarding the outward. This is higher art than when the intellect mimics the full expression of his theme. likeness of the outward objective forms of the world. My passwords But now he comes out into the clear, with a clean palette, in any art are: Creativity, personality, individuality, heart, ecstasy, and although he still holds to his browns, they are more translucent heartache, tears, laughter, light, dark, silence, action, expectancy, than in other days – alive, more vibrant . . . . hope, faith, death, immortality and all that surges beneath a man’s But what is said is more important than how it is said . . . . breastbone.” [Crocker is] a man of sensibilities, who has expression for his While Cheney lamented that the work of this “distinct follower of the personal reaction to nature. He paints to please himself, after no Barbizon school” had now become amorphous in quality, he also manner or school. confessed that Crocker was a champion of colors that were “beautifully Unfortunately, there is no record of the artist’s reaction to these reviews. rich” and possessed of “unusual quality and harmony of tone.” Between One of the paintings that may have been in this exhibition is his startling 1907 and 1919 Crocker’s art evolved rapidly. His non-formulaic Psychic Windswept Landscape: Santa Rosa.33 His one-man show was held over Impressionism – that very subjective aesthetic which embraced juxtaposed an additional week because “so great an interest has been manifested.” L. contrasting colors and bravura brushwork – adopted elements that were B. Powers added that “Hundreds of lovers of the silent places have paid not dissimilar to Expressionism. homage to the painter’s concept of their dreams.”34 The following March 363 the art critic of the San Francisco Examiner, E. Van Lier Ribbink, listed force, and will be form instinct with motion or energy, which is its Crocker as one of California’s greatest artists at “the nucleus of an cause. And form thus thought into existence and used in creation of important contribution to the world’s art.”35 art will be rhythmic and moving indeed because it will be influenced Despite his attachment to northern California Crocker sold his where lines of force intersect or cross. . . . Such form is conceived Santa Rosa ranch in 1919 and moved a year later to Pasadena where and realized by an intellectual process, dealing with the inner cause, modern art had a far more receptive audience; here he introduced John and not as Cezanne, who tried to realize form by outer observation of Burroughs to his former teacher, Jean Mannheim, who painted his objects of visualization. A thought concept of the cause of form thus portrait.36 The first listing in the Los Angeles Directory for the “artist” takes the place of form sensed by the observance of outer objective Charles M. Crocker placed his residence at 1002 Beacon Avenue in 1923. nature. This new discovery will be, as I see it, the next great A year later his new address was 1767 Orchid Avenue and by 1926 he contribution, and the basis of a new art. moved to 1115 Orme Avenue. Thereafter Directory listings in Los Angeles In this letter Crocker also demanded the complete abolition of the for Crocker are absent.37 In the spring of 1923 he exhibited at the Los “abominable” jury and awards system that: Angeles Museum twenty-seven oils and thirty-six pastels in conjunction . . . . not only kills all that is spontaneous, vital and with fifteen paintings by Helena Dunlap to the critical acclaim of Antony creative in the artist, it breeds a bromidic and abortive art, sponsored Anderson.38 The latter declared that his canvases to be “highly poetic . . . . by anemics who paint illustrations and empty scenic potboilers of they give us rich and powerful color, their ‘thought’ is at once jubilant and hills, camps and topographical spots and call it art – it is bloodless, serious . . . . truly creative.” According to the official catalogue:39 lifeless and empty. Such men pose as the cultural custodians of art Charles Matthew Crocker . . . is a follower of no school or for Los Angeles. In fact they are despots, assuming the right to pass Master. . . . By conscious striving he has acquired a faculty with judgment on what men shall think in art, what they shall paint, and which he projects the color and forms essential to the expression of how it must be painted in order to pass their despotic and decadent Nature and self. Each canvas is dynamic and carries its own rate of formula. vibration or motion . . . He is a painter of light and emotion. His art is This startling broadside on the art establishment was answered by one of Nature, plus mind. the region’s most respected painters, Colin Campbell Cooper:47 At the time of this exhibit he was relocating his studio and directed I am sure that Dr. Bryan will agree that, whatever the correspondence to the care of the Los Angeles Museum in Exposition theory may be as to a possible new art, he, Mr. Crocker, pays the Park.40 His 1924 passport application mentions “art exhibits” in western director of a great museum no compliments in linking his name with Europe, undoubtedly shows that he planned to stage of his own work; his such a stream of vituperative condemnation of other painters who California atelier was listed at 2130 Vista del Mar Avenue in Hollywood.41 may not accept his somewhat obscurely-expressed ideals. As I By early 1925 arrangements had been made by an ad hoc understand him any representation which resembles anything in the foundation of his supporters and “European art critics” to exhibit twenty- heavens above, the earth beneath or the waters under the earth, is eight of his oils in London and Paris. The Los Angeles Chamber of the “bunk,” and only his – Charles M. Crocker’s – ideals may or Commerce gave an unprecedented pre-departure exhibition that coincided should prevail. with the opening of other Crocker works at the Biltmore Salon. According . . . . Everyone who has at heart the true meaning of art to the press, the Chamber of Commerce exhibit drew thousands of viewers will welcome any honest expression or endeavor, however, much it and entire high schools were dismissed to encourage attendance by may break cherished traditions; but I would remind Mr. Crocker that students.42 Controversy was the main attraction and one of his works, the assumption of great enlightenment coupled with scornful entitled Struggle, invited special attention because:43 condemnation of all who may not follow him, is not calculated to . . . . it has summoned up a dead day from the end of advance a cause. The old adage about catching flies with molasses some former eternity, and shown humanity crushed into nature, instead of vinegar holds in this case as in many others. howling from the roots of trees and the atoms of stones. Life, Unfortunately, Cooper did not address Crocker’s legitimate concerns with whatever its beauty, its drama, its recurrent deaths is fashioned from the politically motivated jury system. the trembling, grumbling clay. There is certainly no excuse for Crocker’s base rudeness. At The opening reception at this exhibition was a major social event that first glance, his commentary appears to be a combination of Nietzsche’s included lectures, “musical numbers and other entertainment features.”44 raging Zarathustra and the rhetoric of a Marxist revolutionary. However, For reasons that are not clear this show never reached London and the closer examination reveals a very sophisticated art theory that synthesized twenty-eight paintings were lost.45 the most advanced ideas of his age. During Crocker’s Berkeley period his Crocker’s personal philosophy alienated many of his fellow many friends in the intelligentsia championed Arthur Schopenhauer (1788- artists. In a long letter addressed to Dr. Bryan, the director of the Los 1860). This German philosopher borrowed extensively from Immanuel Angeles Museum, and published by the Los Angeles Times in May of 1927, Kant to create a very ego-centric world where “will,” the subjective inner Crocker attacked “institutionalized” art in his typically uncompromising and consciousness of one’s own existence, was the ultimate arbitrator in the tactless tone. On this occasion he also offered his theory on the creation of material universe. While Crocker rejected Schopenhauer’s very pessimistic a new aesthetic form:46 system of ethics, he embraced his epistemology. In addition, hypotheses I well remember the agitation and comment caused by formulated by Ernst Rutherford and Niels Bohr on basic atomic structure, your invitation extended to me to exhibit a one-man show in your which today we take for granted, offered Crocker radical “new” insights into museum, which impressed you sufficiently to ask me to expose. I the very substance of life, a method for analyzing all phenomena and a also remember the jealously and enmity my exhibition engendered precise “scientific” vocabulary to describe observations. Crocker not only and the severe criticism it caused of you by the local pink-laced- found inspiration in the Neo-Impressionist concepts of George Seurat, who pantalooned, photographic scene painters, and by some of the safe sought to reduce the emotional qualities of line and color to scientific and sane art dealers and reactionaries in art. You are worthy of the principles, but also in the iconoclastic cynicism of the Dadaist manifestoes. high esteem of all artists and of all people who desire to let in a new The most profound ideas came from the Fauvists and Expressionists with birth of life, beauty and thought into canonized and static forms. their emphasis on the radical use of form and color to render emotion While a new arts movement sweeps the world, deriving from symbolically. From this amalgam of philosophies Crocker forged his own Cezanne, many museums and academies are still purveyors of a unique theory, namely that the artist is the interpretative medium between decadent art and still rattle dry bones in the dead ashes of empty the visible world of forms and the canvas where the essence of those molds. Amidst this darkness you lift the torch of light to the cause of forms, as opposed to a mere stylized or formulaic representation, is distilled advancement and creative work. by a highly cultivated intellectual process. This process requires that an Cezanne is the perfect antithesis of those legions of objective knowledge of energy and motion combined with very subjective competent tradesmen of art – the imitative, the safe and sane feelings and perceptions. Color and form, which should be professionals who make pictures for sale. They do not live to paint, indistinguishable, are the sublime result of the emotional struggle that they but paint to please decadent tastes. They paint to please politicians mirror. Historically, it was not uncommon for California painters to embrace of art – juries of a belated impressionism, which had nothing vital to philosophical schools as a guide to their artistic endeavors. One thinks express. The modern art movement has passed from impressionism immediately of Maurice Braun’s affiliation with the Theosophical Society and expressionism which allows a greater influx of the essence and and William Keith’s involvement with the Swedenborgian church. Crocker spirit of life and makes possible the expression of sensation. Still we is unusual because this immensely talented painter and intellectual was have the scene painter and the photographer trying to dictate the old also a theorist in the European tradition where artists carefully analyze the terms. . . . philosophical and “scientific” bases of their work and publish the results. The Basis of a New Art Comparable examples are Georges Seurat and Paul Klee. The next great contribution to art will make possible the Crocker and his paintings remained in the news. At the 1929 projection of emotion and thought through dynamic units of energy, summer exhibition of his work in the Hollywood Plaza Hotel one critic because of a knowledge of the chemical cause of form and of life as mused: “an artist of strange power, whose work has divided critics . . . . He manifest in the forms of nature or matter. The basis of this new art usually interprets nature in some highly dramatic moment . . . to infuse into will be energy and motion scientifically conceived and will allow the his paintings a convincing feeling of the continual release of energy.”48 A creation of colorform which will indeed be highly energized and few months later Crocker was a featured speaker along with Swami expressive and capable of transmitting emotional reactions, Dhirananda at the Hindu-American dinner in the Artland Club.49 He intellectual concepts, and sense perceptions in terms of energy and returned to the Hollywood Plaza Hotel in December of 1929 for another physics. This form will be significant and expressive because it will solo exhibition that was carried over by popular demand into the following be dynamic – it will give a more vitalized, animated control of the life spring.50 In 1931 his biography appeared in the Los Angeles Time’s series 364

“Our Artists in Person.”51 The Time’s Art Editor, Arthur Millier, hailed / 58. Cf. Moure, p.58; Andersen, p.33; Hughes p.258; Falk, p.777; Jacobsen, p.744; Crocker “as a new figure in American art, a mature creative personality Wall-Moure, p.142. producing new forms of astonishing vigor. . . . delivering whole JOSEPHINE MARY CULBERTSON (1852-1941 / Plate 8a) compositions out of a mind which views all phenomena as visible stages in was born to missionary parents on May 4th in Shanghai, China. Her father, the endless animation of matter by the ‘push’ of cosmic energy.” For this retired General W. L. Culbertson, is credited with making the first article Millier reproduced his painting The Wayfarers. At the time of this translation of the Bible into Chinese. When he died of cholera in 1862, the interview the artist was writing his own Philosophy of Physics, holding an family returned to the United States.1 According to the U.S. Census of exhibition at Crocker Art Gallery in Los Angeles and preparing to send 1870, she resided in Brooklyn with her older sister, widowed mother and another show to the State University of Kentucky. His paintings reportedly several relatives.2 Josephine attended the nearby Parker School where inspired countless poems and essays. she studied with her childhood friend, Ida Johnson.3 Between 1896 and His highly publicized 1932 exhibition at New York City’s Delphic 1900 she earned a degree from the Adelphi Academy and College and Studios left critics deeply divided: “The weird animistic quality of his trained at the Art Students League under William Merritt Chase, Arthur W. canvases, in which stones, clouds and trees are implicit with writhing life, Dow and George H. Smillie.4 One of her summers was spent at the Chase will appeal especially to lovers of the macabre.”52 A more detailed School in Shinnecock. She also studied flower painting with Rhoda assessment of Crocker offered the following:53 Holmes Nichols and briefly specialized in still lifes of roses that were . . . . A California artist, he is obsessed by the activity of praised in the Art Amateur.5 By 1900 she was sharing a Brooklyn flat with the electron. The extraordinary oils at the Delphic represent an her designated “partner,” Ida Johnson, three of the latter’s relatives, who attempt to translate into visual terms the vibratory rates of matter, were officially listed as “boarders,” and two Irish servants.6 The nature of animate and inanimate. The pantheism of Mr. Crocker’s work creates the partnership was not specified in the U.S. Census of 1900, but both half-human clouds and rocks and writhing men growing from the were recorded as “artists.” At this time Josephine Culbertson actively earth like trees. exhibited with the: National Academy of Design, Brooklyn Art Association, The show proved so popular that an expanded version was moved New York Water Color Society and Art Institute of Chicago. In 1905 she “indefinitely” to the Crocker Art Gallery on East Fifty-seventh Street.54 and Johnson made a lengthy trip to California, visited Carmel over the In 1932 and 1934 this “powerful symbolist” held well-reviewed summer and then returned to New York. A year later they permanently solo exhibitions at the Los Angeles Museum. From the 1932 show the Los moved to Carmel and briefly occupied the cottage built by Frank Devendorf Angeles Times reproduced his canvas Rooted Men. Most of the twenty at the corner of Ocean Avenue and Lincoln where the Harrison Memorial displayed works at the 1934 exhibit were allegorical and depicted the life- Library now stands.7 Culbertson’s first painting in Carmel was of the giving power of the sun’s cosmic rays.55 Stylistically, he now adopted a far legendary beach cypress that was tragically removed by the owner of the more “Modernist” (i.e., Neo-Expressionist) approach that increasingly bathhouse.8 emphasized symbolic forms, almost violent colors and linear distortion. He Several years after her arrival she began to exhibit her also employed bold outlines and continued to incorporate twisted human landscapes on the West Coast. Her monotypes appeared at the Del Monte figures into his beloved trees. In addition to the highly flattering remarks by Art Gallery between 1908 and 1910 with such titles as: Marsh Grass, Strom Arthur Millier, the official 1934 catalogue contained a full page of analysis over the Moors, Sunset on the Marsh and On the River.9 In the June 1908 by Professor Triggs who concluded:56 issue of Sunset magazine Culbertson and Johnson published “seven full- Crocker paints the vibratory rates of matter, the causal page drawings in color of the wild flowers in California . . . . a rare treat for principle which activates the atomic and molecular material condition. nature lovers.”10 In 1909 she received an honorable mention at the Alaska- He paints the chemistry of emotion, and of life. Yukon-Pacific Exposition in Seattle. At the San Francisco Art Association His color functions organically, significantly, not from 1911 to 1913 her exhibited sketches and watercolors were entitled: separately as a thing apart from form, but structurally, inherently and White Roses, Eucalyptus Blossoms, A Low Fog, A Pool on the Beach and coordinately active with form. A California Spring.11 She contributed to every Annual and special His art is motor, living, vibratory in four dimensional exhibition of the Arts and Crafts Club for which we have reasonably space-time. It is an organic projection of the electronic creative complete records.12 In 1909 Culbertson exhibited pottery and tooled principle of invisible energy-rays. He paints living rays, the life in leather, but in subsequent Arts and Crafts shows she offered only light, quantums of energy, waves of electrical motion sweeping and paintings. For the Seventh Annual in 1913 she displayed a work entitled flowing through and around reactive matter. His is a cosmic art, Fog-Late Afternoon. At present, we have these titles for her other Carmel basically and fundamentally conditioned by the causal law of the Annuals: 1916 – A Breezy Morning, Carmel Neighbors and A Carmel moving universe, earth’s law of protoplasmic life. His work has a Garden; 1920 – San Jose Canyon, Carmel Mission and The Olde Shop; scientific basis in physics, blazes a new trail and shows a new road 1921 – A Point Lobos Favorite and A Turn on the Seventeen-Mile Drive; into reality for creative work. 1922 – The Path of Gold; 1923 – On the Lagoon and A Carmel Garden; Charles was invited in the summer of 1934 by the Los Angeles Art and 1924 – Late Afternoon-Carmel Valley, Carmel Valley Oak and Godetia Association to contribute to the “Masters of Drawing” exhibition.57 For Garden. At the 1920 Annual a poll of visitors voted her three paintings reasons that are presently obscure Crocker left California by or before 1938 among the top twenty canvases.13 Mrs. F. Carl Smith in her review of the and returned to Chicago where he died on October 18, 1950.58 1923 Annual for the Carmel Pine Cone said that On the Lagoon “shows a ENDNOTES FOR CROCKER: 1. U.S. Census of 1880 [ED 62, Sheet 16]; U.S. sympathy and love for all the exquisite tints of nature. Her landscapes and Census of 1910 [ED 42, Sheet 14A]; U.S. Passport Application No.370096, issued on gardens, in fact all her work, shows the spirit of the artist that fascinates the February 8, 1924 in Los Angeles. / 2. LAT, April 5, 1931, p.3-12. / 3. Decatur City beholder and makes one long to see more of her work.”14 Directory, 1893, p.152. / 4. The Chicago Directory Company, The Lakeshore Annual Directory of Chicago, Chicago: 1898, p.455; 1899, p.462; 1900, p.477; 1901, p.492; Culbertson taught pottery classes at the Arts and Crafts 15 AAA 3, 1900-01, p.20. / 5. Decatur Daily Review, October 22, 1898, p.3; The Decatur Summer School through 1914. She was a student at the 1914 William Herald, January 1, 1902, p.5. / 6. Bonhams and Butterfield, SoMa Estate Auction, April Merritt Chase Summer School and participated in the social events 15, 2007, San Francisco, Lot 4050. / 7. Polk 1907, p.1560. / 8. TCR, December 5, surrounding his visit.16 At that time the New York Times listed Culbertson 1908, p.14. / 9. Refer to narrative in Chapter 3. / 10. Polk 1908, p.1262. / 11. TCR: as one of the “notable” artists of Carmel.17 One of her paintings from this November 28, 1908, p.14; January 2, 1909, p.14; cf. TCR: January 23, 1909, p.14; period was simply titled Carmel by the Sea.18 In January of 1916 her work January 30, 1909, p.14; March 20, 1909, p.14. / 12. Polk 1909, pp.1027, 1367. / 13. TCR, December 5, 1908, p.14. / 14. TCR, December 19, 1908, p.14. / 15. The Press was displayed at the Second Exhibition of California Artists at San 19 Democrat Publishing Company, The Santa Rosa City Directory, Santa Rosa, 1913, Francisco’s Golden Gate Park Memorial Museum. That February she pp.158, 172. / 16. SFL, May 21, 1911, p.82. / 17. BDG, October 28, 1910, pp.9, 12. / exhibited her paintings with other Carmelites, including Mary DeNeale 18. Appendix 1, No.6. / 19. Refer to the narrative in Chapter 3. / 20. SFL, June 23, Morgan and Arthur Vachell, at the Watsonville Woman’s Club.20 At William 1912, p.35. / 21. U.S. Census of 1910 [ED 42, Sheet 14A]; Polk 1911, p.1033; Silva’s Carmelita Art Gallery in June of 1917 Culbertson donated her art to Crocker: 1911, pp.464, 1787; 1912, p.1833; SFL, March 5, 1911, p.30. / 22. Crocker: a benefit show for the Carmel chapter of the American Red Cross.21 In 1915, p.525; 1917, p.552. / 23. SFL, February 26, 1911, p.31; cf. SFC, March 19, 1911, p.26. / 24. SFL, March 26, 1911, p.31. / 25. SFL, March 5, 1911, p.30. / 26. 1919 for a joint exhibition sponsored by the Architectural League of New SFL, July 23, 1911, p.33. / 27. The Press Democrat, November 18, 1913, p.1. / 28. York at the Brooklyn Botanic Garden she paired her studies of clustered SFC, January 22, 1916, p.8. / 29. SFC, August 6, 1916, p.19. / 30. SFC, November wild flowers in their native habitat with portraits of single flowers of the 30, 1919, p.E-5. / 31. SFC, December 14, 1919, p.E-9. / 32. TOT, December 7, 1919, same species by Miss Johnson.22 p.6-B. / 33. Plate 7; Appendix 6. / 34. TOT, December 28, 1919, p.3-S. / 35. SFX, Culbertson and Johnson were extremely active in the Carmel March 7, 1920, p.N-4. / 36. Moure, p.58; Reitzell, pp.34, 79. / 37. LACD: 1923, p.948; social scene with their attendance at dinners, teas and receptions for 1924, p.762; 1926, p.711. / 38. LAT, April 8, 1923, p.3-39. / 39. Los Angeles 23 Museum, Exposition Park, Paintings by Helena Dunlap and Charles Matthew Crocker, exhibitions. For over thirty years their home was “the center of culture 24 April 3-29, 1923, p.3. / 40. AAA 2, 1923, p.487. / 41. U.S. Passport Application and conviviality . . . . and gracious hospitality.” They organized and No.370096, issued on February 8, 1924 in Los Angeles. / 42. LAT, March 17, 1925, supported a variety of community causes which encompassed Carmel’s p.2-2; TAT, March 28, 1925, p.11. / 43. LAT, March 15, 1925, p.2-3. / 44. LAT: March Free Public Library, Boy’s Club, Young Men’s Club, Dickens Reading Club, 8, 1925, p.1-11; March 15, 1925, p.3-36; March 19, 1925, p.2-13. / 45. LAT, April 5, Church Parsonage Fund, Woman’s Auxiliary for the Carmel Community 1931, p.3-23. / 46. LAT, May 8, 1927, p.3-40. / 47. LAT, May 22, 1927, p.3-36. / 48. Church, Red Cross and Missionary Fund.25 In 1912 Josephine was elected LAT: July 14, 1929, p.3-18; July 21, 1929, p.3-16; July 28, 1929, p.3-18; September 1, to the governing council of the Forest Theatre Society.26 At the request of 1929, p.3-18; California Arts & Architecture 36.2, 1929, p.59. / 49. LAT, September 14, 1929, p.2-8. / 50. LAT: December 8, 1929, p.3-26; December 22, 1929, p.3-14; March the Arts and Crafts Club Culbertson “revived” the Carmel Civic League in 16, 1930, p.3-19; March 23, 1930, p.3-16. / 51. LAT, April 5, 1931, pp.3-12, 23. / 52. February of 1916 and served as its secretary.27 She even played the organ NYT, February 21, 1932, p.8-10; cf. NYT, March 12, 1932, p.18. / 53. NYT, February in the local Methodist Church.28 According to the U.S. Census of 1910, 22, 1932, p.22. / 54. NYT, March 15, 1932, p.18. / 55. LAT: August 12, 1932, p.2-8; Culbertson was the designated head of the household and Johnson was August 5, 1934, p.2-8; August 19, 1934, p.2-8. / 56. Los Angeles Museum, Exposition listed as her “partner” at their home on Monte Verde Street and Ninth Park, The Causal Principle in Art, An Exhibition of Creative Paintings by Charles 29 Matthew Crocker, August 10 – September 2, 1934, p.3. / 57. LAT, July 29, 1934, p.2-8. Avenue, euphemistically called “Pine Needle.” They periodically visited 365 the East Coast and southern California. On occasion they exchanged Carmel Art Gallery between October of 1926 and August of 1927 she houses with friends in the San Francisco Bay Area; in Berkeley they visited exhibited several paintings, including A Turn of the Seventeen Mile Drive the art colony and stayed with Jennie Cannon.30 In 1916-17 the two artists and The Witch Tree, “in a fog, with a green foreground, a blue sea and advertised “Saturday afternoons” as the time when their “lovely” studio on ghostly limbs of the cypress twisted.”52 In January of 1927 her Carmel Ocean Avenue was open to visitors.31 From the U.S. Census of 1920 we Cypresses appeared in an exhibition of prominent northern California learn that “Grey Gables,” their new studio-home on Lincoln Street at the artists organized by the Berkeley League of Fine Arts at the Twentieth corner of Seventh Avenue, was also occupied by Josephine’s sister, Helen Century Club in Berkeley.53 She exhibited her painting The Lagoon that Kip; Ida Johnson was officially designated as a “friend” of Culbertson who April in a show of regional artists sponsored by the Biltmore Hotel of Los was the designated owner.32 In August of 1927 the Carmel Art Association Angeles at the Community Center in Oxnard, California, and three months (CAA) held the first of many meetings in their studio.33 For that later she donated a canvas to the “white elephant” sale to benefit the organization Culbertson served as the: second vice-president in 1927-28, financially strapped Carmel Arts and Crafts Club.54 At the crafts fair in the first vice-president in 1928-29 and 1930-31, corresponding secretary in Arts and Crafts Hall during August of 1927 Culbertson and Johnson 1929-30 and 1932-33 and “third honorary vice president” in 1933-34; she displayed pottery, including small vases and dishes, which they painted sat on the CAA board of directors from 1931 to 1933 and in 1935.34 and fired.55 Culbertson contributed the canvas Eucalyptus Blossom to the Culbertson attended the 1934 members’ meeting of the CAA and voted for State-wide Annual Art Exhibit of the Santa Cruz Art League in February of incorporation; she occasionally served on the CAA’s “hanging 1928.56 At the Fourth CAA Exhibition in March she displayed A Winter committee.”35 She frequently exhibited with that organization between Bouquet and Carmel Studio; the latter was described as “charming, October of 1927 and June of 1938.36 From 1912 to the late 1930s she was intimate and neighborly . . . . her characterization of pine trees, stucco, tile habitually designated a “Republican” on the voter registration lists.37 and grass shows intimate knowledge of her subject.”57 Later that June her Culbertson’s artistic career continued unabated until 1938. An Carmel Mission was hung at the Jury-free Exhibition of the Oakland Art unnamed writer for the Carmel Pine Cone visited Culbertson-Johnson League in the Oakland Art Gallery.58 On September 6, 1928 Culbertson studio in the late fall of 1921 and evaluated her art:38 and Johnson were two of four “elderly women” caught inside a runaway car Miss Culbertson does the most realistic presentations of that crashed into a tree on Capistrano Avenue in Berkeley.59 The seventy- gardens. One is a corner of a patio of Mrs. Clarence Black’s home in five-year-old Culbertson suffered the permanent loss of sight in one eye, Santa Barbara, said to be one of the show places of that city. severe lacerations about the head and a fractured right arm that had to be Another that attracted my eye was a backyard view of a couple of amputated years later. According to the press, Ida Johnson escaped friendly houses, nestled close together in loving intimacy, with a bit of serious injury. The two women had recovered by the following January to blue sea in the background. She has named the picture “Neighbors.” host guests, including Ida M. Curtis, at a bridge party in their home.60 A bit of washing on the line in the foreground provides a homely Culbertson donated her art in May of 1929 to the Chinese realism which but accentuates the thought of the picture. Miss Famine Relief Fund exhibition and sale in San Francisco.61 That June at Culbertson has also a beautiful triptych of Point Lobos. the CAA’s Twelfth Exhibition her Sunshine and Fog at Point Lobos was In May of 1920 at the Stanford University Art Gallery she jointly displayed characterized by Valerie Johnston, art critic for the Pine Cone, as “a very with Ida Johnson “a number of oil paintings . . . showing views of California illusive thing in greens and violets, the trees losing themselves in luminous landscapes enriched with flower foregrounds.”39 She returned to that fog at their tops.”62 She exhibited with other local artists in October of 1929 venue in June of 1921 for the group Exhibition of Carmel Artists.40 Always at the Myra B. Shop in Carmel.63 Her seascape, On the Lagoon, appeared willing to expand her horizons, she enrolled in Ralph Pearson’s Carmel at the reopening of the private Carmel Art Gallery in May of 1930.64 That etching course in the spring of 1922.41 That December she donated her same painting was displayed in July at the Thirteenth CAA Exhibition.65 “charming” etching of the Smiley bungalow to a benefit show that raised She joined the heated debate on the future color schemes for Carmel funds to purchase an etching press for the Arts and Crafts Club.42 Her streets in January of 1931.66 That February she again exhibited at the work was selected for display at the California State Fair between 1925 and State-wide Annual of the Santa Cruz Art League.67 Culbertson was also an 1933.43 In 1926 at that venue she contributed Giant Oaks of Monterey and exhibiting member of the: Laguna Beach Art Association, Chicago No-jury Triptych of Point Lobos.44 She exhibited at the Thirty-fifth Annual of the Society of Artists and Berkeley League of Fine Arts.68 In June of 1931 at Denver Art Museum in June of 1925.45 A month later she displayed her the CAA’s Fourteenth Exhibit she displayed Giant Oak-Monterey and work in a small “group show” of Carmel Artists at the Arts and Crafts Hall; Spouting Rock-Point Lobos; one critic said that the latter had “no feeling for she studied printmaking with Blanding Sloan and exhibited with his the overpowering effect of Lobos,” while another called it “the best rock in students at the City of Paris Gallery in San Francisco.46 In the fall of 1925 the show.”69 For the Pine Cone Eleanor Minturn-James visited and the Pine Cone provided this rough translation of the review from the Paris- interviewed Culbertson in October of 1931:70 based journal, Le Revue de Vrai et du Beau; a reproduction of one of . . . . This painter has in her studio at Lincoln and 7th Culbertson’s paintings was included with the original article:47 Street, “Grey Gables,” a charming large still life of chrysanthemums, I have been able recently to admire at the Schwartz yellow and white ones, their gentle raggedness in good contrast to Galleries in New York, two works of Miss J. M. Culbertson, of which the severe straight lines of the Chinese blue vase. She has never the first has just figured in the Salons of America, where she is shown this here on the peninsula, and should be urged to do so as it especially remarked. is one of the finest still lifes she has ever produced. Her latest still life These works – “A Patio Garden-Carmel California” and “A is in black and white, an Oriental stage set. The quality of her whites Foggy Day-Point Lobos, California,” impress me with very notable – the white of the oval-shaped porcelain jar and the white of the qualities. Their execution is at once energetic and delicate, free and carved Chinese idol – is especially pleasing against the black knowing. One can in them admire a perfect purity of line, a beautiful embroidered Chinese screen. inspiration, a classicism of the best kind, a happy search for power Miss Culbertson’s recent paintings of the Carmel Mission and simplicity. shows her working with a much broader technique. It is vigorous The analysis is justly maintained in a vision of the whole. painting. Unique, in that it gives you an angle of the Carmel Mission These works contain some passages as conscientious, as sensitive, bell tower seldom painted. [Armin] Hansen, pointing to one as vibrant, as expressive. Last year I had occasion to speak of this particularly well-handled section of the canvas, said, “I wish I had fine artist apropos of the Independent Art Show, where she showed painted that!” Carrying out the painting approach to the Mission that two very successful works. she did, was not without difficulties. After hiding her easel and Sensitive to all the varied aspects of Nature, her talent is painting outfit under the bushes she returned the next day to find that sincere, independent, very strong and at the same time, true and all the nice, warm-colored weeds and wild shrubs huddled so vigorous. companionably against the old adobe walls, and on which she was She is in a high degree, endowed with a feeling for light counting, were in the act of being cleared out and burned. Then, it and atmosphere. She possesses the full mastery of her technique was a case of hurrying brushes. Looking up at the tower against the and she expresses all the synthesis of her art with loyalty in sky, Miss Culbertson said it seemed practically impossible to get employing a manner ample and robust. pigment that would yield such intense blue. She found it, however. Her work evokes a force truly rare; she adds a sentiment This artist said that she has always painted from nature. of emotion which gives them an eloquence very poetic and very It has been invariably her method. Her mother was something of an taking. artist and in the habit of making drawings. . . . A excellent example of her plein air work from this period is the Coastal Minturn-James also reported that she planned soon to donate to the Landscaper near Asilomar.48 Her paintings appeared at the Hobart Gallery Harrison Memorial Library her large canvas of oaks and wildflowers as well in the First Exhibition of the San Francisco Society of Women Artists during as a large collection of Ida Johnson’s watercolors of wild flowers in a November of 1925 and again with that organization’s Second Exhibition the revolving glass-covered stand. That October Josephine displayed her following spring at the Don Lee Galleries where she displayed “a really Carmel Mission at the Monterey County Fair.71 A month later at Carmel’s delightful and poetic Landscape.”49 Pine Inn she exhibited a small sketch of Point Lobos at a show of “thumb- In February of 1926 her paintings were displayed in San box” sketches and another work at the local Sunset School.72 Also that Francisco store windows for the “Picture Week” exhibition; that June November at the Fifteenth CAA Exhibition she exhibited a still life entitled several of Culbertson’s canvases were shown at Gump’s and the Berkeley Quan Yin or Goddess of Mercy.73 League of Fine Arts.50 During July in a one-day joint show with Ida At the Seventeenth CAA Exhibition in June of 1932 Culbertson Johnson at the Arts and Crafts Hall she displayed local landscapes, displayed another Carmel Mission and served on the selection jury.74 That including A Carmel Garden Scene as well as “some interesting water color September she contributed to the Jury-free Exhibition at the Oakland Art sketches painted in Porto Rico and Prince Edward Island.”51 At the private Gallery.75 In November at the “white elephant” benefit for the Carmel 366

Community Church she sold unfinished sketches from her portfolio “at CPC, May 4, 1934, p.12. / 79. CPC, January 11, 1935, p.3. / 80. CPC, March 29, prices from 25 cents upward.”76 She donated her paintings to the 1935, p.4. / 81. CPC, June 7, 1935, p.10. / 82. CRN, March 10, 1937, p.2. That same exhibition-raffles in support of the CAA Gallery in January of 1934 and photo was reprinted in August of 1939 by the Carmel Pine Cone; CPC, August 25, 77 1939, p.5. / 83. CPC: March 14, 1937, p.10; March 26, 1937, p.13. / 84. CPC, April 2, December of 1936; at the latter her work was entitled Zinnias. In the 1937, p.8. / 85. CPC, October 28, 1938, p.4. / 86. CCY, April 18, 1941, p.3; CPC, spring of 1934 the Pine Cone named her, along with Mary DeNeale Morgan April 18, 1941, pp.1, 16; California Death Index; Hale, p.33; Kovinick, pp.62f; McGlynn, and Jennie Cannon, one of the “Twelve Women Who Have Helped pp.16-22; Spangenberg, pp.53f; Hughes, p.262; Petteys, p.173; Jacobsen, p.757. Immortalize Carmel” as a center for the arts.78 At the CAA’s Water Color Exhibit in January of 1935 her Eucalyptus Blossoms were called one “of the SOPHIE VALLEAU CULP (1858-1953) was born on August brightest spots.”79 She was so highly regarded by the town that one 24th in San Francisco. She briefly studied painting and ceramics at the Sunday in March Minister Dorsett dedicated his sermon at the Carmel School of Design and joined the faculty of Washington School. In 1878 she Community Church to Culbertson and displayed her “scrupulous and married a “farmer,” Daniel S. Culp, and resided on B Street in Hayward, exquisite paintings of California wild flowers.”80 On April 19th and 20th she California.1 In the 1890s the couple apparently separated with each living staged at her studio an exhibit of her wildflower paintings, including “a with their respective parents.2 Sophie resided at 1423 Webster Street in number of new studies,” to coincide with the Easter visit of tourists. In June San Francisco and described her occupation as “art studies, teacher.” In of 1935 at the CAA her canvas Monterey Oaks, according to Pine Cone art 1892 she was elected the secretary of the California Keramic Club and was critic Thelma B. Miller, “caught the spirit of California summer . . . the oaks featured prominently in its spring Exhibition.3 In the Club’s December persistently if dustily green, majestic and harmonious in their great display at the Palace Hotel her pitcher “of raised gold” and her “rose strength.”81 On March 20, 1937 a special “tribute” exhibition and sale of her jardinière” received special mention in the press.4 At the California work was arranged by her many friends at Levinson’s Garage; a local Midwinter International Exposition of 1894 she contributed to the “art newspaper, The Californian, published a photo of the eighty-four-year-old porcelain” display.5 During the late 1890s she spent one year in London artist.82 This exhibit included landscapes, floral studies and “foreign working on graphic arts and design with Frank Brangwyn. In June of 1898 scenes.”83 That April her large canvas of the famous Grey Gables Garden she contributed to the Red Cross Benefit Exhibition at the San Francisco was purchased by subscription for one of the public buildings in Carmel.84 Press Club.6 She was a featured exhibitor at the Ninth Annual Exhibition of Josephine continued to paint until the early fall of 1938 when ill health the California Keramic Club in November of 1899.7 Culp also exhibited a forced her removal to a nursing home in Pacific Grove and her friends sold decorated vase, tile, jar and stein at the San Francisco Art Association in her belongings.85 Miss Culbertson died in Pacific Grove on April 10, 1941 1905.8 As a nationally recognized ceramist she maintained studios in San and was cremated in Santa Cruz.86 Francisco at 231 Post Street and 233 Geary Street. Her residence in 1905 ENDNOTES FOR CULBERTSON: 1. CPC, April 18, 1941, p.16. / 2. U.S. was at 1015 Fell Street.9 At this time she and her husband, who was now Census of 1870 [ED 7th Ward, Sheet 30]. / 3. CPC, May 6, 1927, p.10. / 4. CPC, a “geologist,” were again cohabitating. October 31, 1931, p.10. / 5. As cited in CPC, October 30, 1931, p.10. / 6. U.S. Two months after the earthquake and fire in April of 1906 she Census of 1900 [ED89, Sheet 11A]. / 7. CPC, December 14, 1928, p.13; March 29, and Daniel purchased a permanent residence and studio at 2601 Virginia 1935, p.4. / 8. CPC: May 6, 1927, p.10; September 16, 1927, p.9. / 9. Schwartz, Street in Berkeley.10 In the local Directories she was listed primarily as an Northern, p.52. / SFL: May 28, 1908, p.9; May 30, 1908, p.16. / Halteman, 10. 11. 11 p.I.136; TOT, March 4, 1911, p.15; SFC, April 6, 1913, p.27. / 12. Appendix 2. / 13. “artist” and occasionally as a “china decorator.” Sophie and her husband CPC, September 9, 1920, p.3. / 14. CPC, August 11, 1923, p.2. / 15. Chapter 5, note were widely traveled. She quickly became something of a Berkeley 18. / 16. Appendix 3; TOT, July 28, 1914, p.15. / 17. NYT, February 1, 1914, p.M-15. celebrity and even her three-month trip to study new porcelain techniques / 18. B & B, October 6, 1988, No.4124. / 19. SFC, January 22, 1916, p.8. / 20. CPC: at the Fry Summer School in Southampton, Long Island, garnered February 2, 1916, p.1; February 9, 1916, p.4. / 21. CPC, June 14, 1917, p.3. / 22. publicity.12 The Culps were regular visitors to the Monterey Peninsula. Her NYT, March 16, 1919, p.20; SFC, April 27, 1919, p.E-3; CPC, June 18, 1926, p.11. / extensive knowledge on ceramics made her a sought-after lecturer.13 She 23. TOT, September 14, 1924, p.S-5; CPC: May 16, 1925, p.8; May 30, 1925, p.9; June 6, 1925, p.9; December 2, 1927, p.14. / 24. CRN, March 10, 1937, p.2. / 25. MDC: was an early member of Berkeley’s exclusive Studio Club and contributed March 10, 1907, p.1; July 11, 1909, p.1; July 31, 1910, p.1; August 8, 1914, p.3; June 7, to the First and Second Annual Exhibitions of the Berkeley Art Association 1922, p.4; CPC: April 14, 1915, p.2; June 7, 1916, p.4; December 20, 1916, p.4; in 1907 and 1908 and to the 1907 Alameda County Exposition in Oakland’s February 14, 1918, p.1; April 24, 1919, p.1; February 19, 1920, p.2; May 19, 1921, p.1; Idora Park.14 She exhibited in 1910 at the Keramic Club “small landscapes August 3, 1922, p.12; May 5, 1923, p.1; January 5, 1924, p.1; May 17, 1924, p.4; . . . on porcelain” as well as a “table set for a nine-course dinner.”15 October 3, 1925, p.2; August 8, 1930, p.3; January 19, 1934, p.4; May 4, 1934, p.1, In 1911-12 Culp was elected a director of Berkeley’s Hillside March 29, 1935, p.4; TOT, December 2, 1917, p.21. / SFX, July 14, 1912, p.79. / 26. 16 27. CPC: February 9, 1916, p.1; December 8, 1921, p.1. / 28. CPC, April 14, 1915, Club and was a co-curator for the occasional arts and crafts exhibition. 17 p.2. / 29. CPC, September 16, 1927, p.9; U.S. Census of 1910 [ED 12, Sheet 11A]; Sophie also lectured at that venue on block prints. At the 1914 exhibition Perry/Polk, 1916-17, p.3. / 30. CPC: September 22, 1915, p.4; October 20, 1915, p.4; of Women Artists of California at the Hillside Club she displayed two May 17, 1916, p.4; April 19, 1917, p.2; May 9, 1918, p.1; February 6, 1919, p.1; April paintings: Adobe at Monterey and Old Pine at Monterey.18 She also 21, 1921, p.1; November 3, 1923, p.1. / 31. TWP, July 8, 1916, p.10; CPC: October donated her work to Oakland’s Red Cross Benefit “Auction Comique.”19 In 11, 1916, p.4; December 6, 1916, p.2; May 31, 1917, p.4. / 32. U.S. Census of 1920 1920 Sophie contributed to the East Bay Artists exhibition at the Hillside [ED 15, Sheet 4A]; CPC: February 19, 1920, p.2; June 2, 1921, p.4; Perry/Polk: 1922- 20 23, p.4; 1928, pp.538, 422; 1930, pp.428, 531; 1937, p.391. / 33. CPC, August 12, Club. That year she gave several pieces to the Jack London Library 21 1927, p.7. / 34. CPC: August 17, 1928, p.4; August 26, 1927, p.6; October 7, 1927, Benefit Exhibition at San Francisco’s St. Francis Hotel. Sophie’s husband p.12; July 12, 1929, p.6; July 10, 1931, p.16; November 10, 1933, p.1; December 1, died in August of 1927. She was named an heiress to part of the estate of 1933, p.1; December 8, 1933, p.7; MPH, August 27, 1927, p.6; AAA: 24, 1927, p.57; 25, A. Herrick Stanford in April of 1940.22 She exhibited with the California 1928, p.59; 26, 1929, p.59; 27, 1930, p.60; 28, 1931, p.70; 29, 1932, p.72; BDG, August Keramic Club into the early 1940s and was its president between 1906 and 23, 1928, p.7; SFC, September 9, 1928, p.D-7; CRM: September 4, 1930, p.6; July 9, 1941.23 Mrs. Culp maintained a studio in her Berkeley home until her death 1931, p.1; September 15, 1932, p.2; CSN, December 7, 1933, p.1. / CPC: May 24, 35. 24 1929, p.1; August 16, 1935, p.5; CSP, March 31, 1949, p.8. / 36. Citations that have on July 26, 1953 at the age of 95. the titles of her submissions and any significant commentaries are inserted in the body ENDNOTES FOR CULP: 1. U.S. Census of 1880 [ED 23, Sheet 58]. / 2. U.S. of the text; the following references provide some of the dates when she exhibited at the Census of 1900 [ED210, Sheet 4B]. / 3. SFC, April 7, 1892, p.4. / 4. TWV, December CAA: Appendix 4; CPC: June 22, 1934, p.5; January 17, 1936, p.5; CSN: April 19, 10, 1892, p.8. / 5. CMIE, p.65. / 6. SFL, June 10, 1898, p.10. / 7. MHR, December, 1934, p.4; June 21, 1934, p.1; CCY: June 10, 1938, p.12. / 37. CVRI, Monterey 1899, p.14. / 8. Halteman, p.I.136. / 9. Crocker 1905, p.527. / 10. BDG, June 13, County: 1912-1938. / 38. CPC, December 15, 1921, p.8. / 39. DPT, May 17, 1920, 1906, p.5; TCR, June 23, 1906, p.7. / 11. Polk: 1907, p.1561; 1909, pp.1027, 1367; p.3. / 40. DPT, June 3, 1921, p.8. / 41. CPC, May 25, 1922, p.4. / 42. CPC: 1911, pp.1034, 1357; 1913, p.270; 1915, p.925; 1922, pp.457, 1543; 1930, p.447; cf., December 16, 1922, p.1; December 23, 1922, p.8. / 43. LAT, August 25, 1925, p.1-4; U.S. Census of 1910 [ED 44, Sheet 7A]; U.S. Census of 1920 [ED 192, Sheet 7A]; U.S. CPC: August 29, 1925, p.5; August 12, 1927, p.6; September 2, 1927, p.7; September Census of 1930 [ED 1-313, Sheet 9A]. / 12. BDG, June 11, 1907, p.5; BKR, June 12, 22, 1933, p.6; MPH, August 25, 1927, p.1; TOT, September 11, 1927, p.6-S; SFC, 1907, p.8. / 13. BKR, October 7, 1908, p.5. / 14. Appendix 1, Nos.2-3; BDG, September 8, 1929, p.D-5. / 44. Catalogue, Annual Exhibition of Paintings, California September 2, 1907, p.5. / 15. TCR, December 17, 1910, p.14; cf. SFL, December 4, State Fair, Sacramento, September 4-11, 1926. / 45. CPC, May 23, 1925, p.2. / 46. 1910, p.44. / 16. TOT, February 26, 1911, p.6. / 17. TCR: November 2, 1912, p.14; CPC, July 25, 1925, p.12; TOT, August 2, 1925, p.S-5. / 47. CPC, November 14, 1925, January 6, 1917, pp.12f; February 3, 1917, p.9. / 18. BDG: March 13, 1914, p.8; March p.8; cf., CPC: May 17, 1924, p.4; June 18, 1926, p.11. / 48. Plate 8a; Appendix 6. / 17, 1914, p.3. / 19. TOT, October 7, 1917, p.20. / 20. BDG, January 16, 1920, p.11; 49. BDG, November 14, 1925, p.6; CPC, November 21, 1925, p.12; TOT, November TCR, January 17, 1920, p.9; TOT, January 18, 1920, p.1-B. / 21. TOT, March 28, 22, 1925, p.6-S; TAT, May 8, 1926, p.12. / 50. TOT, February 14 1926, p.S-7; CPC, 1920, p.4-S. / 22. TOT: August 3, 1927, p.31; April 17, 1940, p.14-B. / 23. TWP, June 18, 1926, p.11. / 51. CPC, July 23, 1926, p.11. / 52. CPC: October 15, 1926, January 2, 1926, p.23; BDG: October 25, 1929, p.5; November 14, 1929, p.7; p.11; December 24, 1926, p.11; August 19, 1927, p.6. / 53. BDG, January 19, 1927, December 10, 1931, p.9; SFC, November 29, 1931, p.D-3; TOT, December 20, 1931, p.6. / 54. The Oxnard Daily Courier, April 9, 1927, p.1; CPC: April 22, 1927, p.10; July p.6-S. / 24. BDG, July 27, 1953, p.16; TOT, July 27, 1953, p.16-E; cf. Hughes, p.263; 15, 1927, p.6. / 55. CPC, August 19, 1927, p.6. / 56. Catalogue, First Annual State- Jacobsen, p.758. wide Art Exhibit of Paintings, Santa Cruz Art League, February 1-15, 1928, p.4; CRM, February 15, 1928, p.7. / 57. CPC, March 9, 1928, p.7; CRM, March 14, 1928, p.7. / ERNST CURJEL (1874-19??) was born on March 29th in 58. TOT, June 24, 1928, p.5-S; CPC, July 6, 1928, p.4. / 59. BDG, September 7, 1928, Hamburg, Germany. He studied art in England and Japan before arriving p.1; CPC, September 14, 1928, p.1. / 60. CPC, January 25, 1929, p.13. / 61. SFC, at San Francisco in November of 1914.1 He had further training in etching May 12, 1929, p.D-5. / 62. CPC: July 5, 1929, p.6; July 12, 1929, p.4; cf. CRM, July 3, and landscape painting at the California School of Fine Arts. In 1917 he 1929, p.2. / CPC, October 4, 1929, p.7. / CRM: May 1, 1930, p.12; June 12, 63. 64. 2 1930, p.6; CPC, May 2, 1930, p.5; SFC, May 18, 1930, p.D-5. / 65. CRM, July 24, advertised his San Francisco studio at 827 Mason Street. In September of 1930, p.7. / 66. CRM, January 29, 1931, p.2. / 67. TOT, February 8, 1931, p.S-7. / 1918 on his draft registration card he listed his employer as S. H. Frank & 68. TOT: November 23, 1924, p.31; February 28, 1926, p.10-M; AAA 28, 1931, p.500; Company and his residence with his mother, Charlotte Curjel, at 920 Taylor McGlauflin, p.106; Ball, p.157. / 69. CRM: June 3, 1931, p.2; June 6, 1931, p.3; June Street. Ernst was described as “medium” in height and build with blue eyes 8, 1931, p.3. / 70. CPC, October 30, 1931, p.10. / 71. CPC, October 9, 1931, p.8. / and dark hair.3 In 1919 and 1920 the artist studied with Armin Hansen and 72. CPC: November 6, 1931, p.11; November 13, 1931, p.8. / 73. CPC, November 27, resided in Carmel where he contributed two canvases, The Pink Fence and 1931, p.8. / 74. CPC: June 17, 1932, p.2; June 24, 1932, p.8; CRM, June 23, 1932, p.3. / 75. TOT, September 4, 1932, p.8-S. / 76. CPC, November 11, 1932, p.15; Grey Day at Carmel, to the Fourteenth Annual Exhibition of the Arts and November 18, 1932, p.14. / 77. CSN, January 11, 1934, p.1; CPC: February 23, 1934, Crafts Club.4 That year he also exhibited at the San Francisco Art p.1; March 23, 1934, p.5; June 15, 1934, p.1; CRN, December 22, 1936, p.3. / 78. Association and displayed at the Helgesen Gallery in San Francisco a large 367 canvas of a rural district near the sea where “great trees give a pronounced arches beautifully above them. In “Sand Dunes of Provincetown” decorative effect and the color of the soil, yellowed and ground into ruts, they are very yellow – undoubtedly too crudely yellow – and they has noticeable value in the composition, while the broken country road overlook a lovely village half hidden among green trees, with a hint of realistically pitches downward toward the shore.”5 By the early 1930s he blue sea far away. had returned to Germany and was a resident of München. During his . . . . “The Veteran” is a fine study of a gnarled and gray career he reportedly studied at the Stuttgart Academy with Christian Adam old cypress, gaunt and leafless, that has rooted itself tenaciously in a Landenberger. Curjel left Germany in 1932 and moved to Spain where his declivity from which it can look over a pale green ocean. trail is lost.6 Miss Curtis also shows a number of thumb-nail sketches, ENDNOTES FOR CURJEL: 1. California Passenger and Crew Lists, departed the most of them from Carmel, bright little impressions of sea and Hong Kong on October 14, 1914 and arrived via Manila and Japan in San Francisco shore. aboard the SS China on November 23, 1914. / 2. AAA 14, 1917, p.463. / 3. WWDR, On March 15, 1921 she opened another solo exhibition at the O’Hara and No.687-10620, September 12, 1918. / 4. CPC, June 19, 1919, p.3; Appendix 2. / 5. Livermore Gallery.23 A year later she had a similar exhibition in the SFC, June 13, 1920, p.E-3. / 6. Cf., Allgemeines Künstler-Lexikon, K. G. Saur, ed., 24 vol.23, 1999, p.155; Hughes, p.267; Falk, p.797; Jacobsen, p.764. Pasadena area. Through the early 1930s Curtis kept a professional address in Boston at the Old Colony Trust Company.25 IDA MAYNARD CURTIS (1860-1959) was born on January In the spring of 1922 Curtis was a student in Ralph Pearson’s 12th in Lewisburg, Pennsylvania. By 1870 her father, who was a clergyman Carmel etching class.26 Although she spent the latter part of that year in and teacher of theology, had relocated the family to Cambridge, New York, she contributed, according to Jennie Cannon, three works of Massachusetts.1 Ten years later she resided in Boston with her mother, “brilliant coloring” to the December show at the Little Gallery, an artists’ whose occupation was listed as “journalist,” two brothers, two sisters and a cooperative in Berkeley.27 According to the Pine Cone and the San servant.2 Ida graduated with a degree in science from Cornell University Francisco Chronicle, she left Carmel in the summer of 1922 to maintain for where she maintained close contacts after graduation and was once three years a studio in New York City whence she traveled to Europe and elected treasurer of the Alumni Association.3 She had advanced training in the Caribbean and along the Atlantic seaboard.28 In 1923 her Carmel chemistry at the Massachusetts Institute of Technology.4 In the late 1880s portrait of a college girl, When Life Looks Bright, “won praise” at several she studied drawing and painting at the Art Students League in New York showings in New York City galleries.29 Her solo exhibition that year City. In June of 1890 she traveled to Europe for “education.” According to received this review in the Pine Cone:30 her passport application, she was five feet two inches tall with gray eyes Exploitation of Carmel scenery in its variant moods was and brown hair.5 Her passport was renewed in 1903, 1908 and 1914 for notably exemplified in the recent showing of canvases by Ida further study abroad, including training in Paris with Émile Ménard and Maynard Curtis at the Ainslie Galleries in New York. The play of Lucien Simon.6 She “learned the principles of design and aesthetics from sunlight in all her work is exhilarating and she interprets a quality of Denman Ross of Harvard and from Charles Hawthorne [in Provincetown] brilliance almost dazzling. This, no doubt, has been enhanced by she gained her brilliant understanding of color;” a summer in Bermuda study during the past six months among the artist coterie in reportedly “led her to forsake portrait painting for landscapes.”7 She Provincetown where her atelier was open for several years before maintained a seasonal studio in Provincetown. According to the U.S. coming west to build a home in Carmel. Although a Boston birth and Census of 1900, Curtis was a “school teacher” and her father had rejoined education gave her the eastern atmosphere and preparation, years the family as the “principal of a private school.”8 Ida held her first solo sent abroad and in the west rounded her vision to a cosmopolitan exhibition in 1916 at the Charles Cobb Gallery in Boston. She planned the viewpoint. So that all her latest work had that breadth which art program for the Boston school system and also taught mathematics and bespeaks the beauty of the great spaces, the color and contours of general sciences at Boston’s Brighton High School from 1886 to 1919.9 bold coasts of California, and specifically the Monterey peninsula. In August of 1905 Curtis was a guest at the El Carmelo Hotel in A glance at the titles of the January exhibition shows Pacific Grove and in June of 1911 she sketched in Colorado Springs; she preference for: Point Lobos, Vistas at Point Lobos, Sunshine on Point spent the summer of 1919 in Carmel and decided to become a permanent Lobos, Ravine at Point Lobos, Sand Dunes in Carmel, The Carmel resident.10 She was frequently enrolled on the Carmel voter index as a Mission, Early Morning on the Mountains and Autumn on the Dunes, “Republican.”11 In 1920 Ida advertised the public hours for her rented all being familiar themes to admirers of her treatment. The first studio-home on Monte Verde Street between Thirteenth and Fourteenth picture sold from this group was the favorite subject of many visitants Avenues in the local newspaper.12 Within a year she relocated to her own to the point, the yellow sandstone cliffs of the north side on which still “Spanish-style” studio-residence on Santa Lucia Avenue between Carmelo clings one of the past great sentinel cypress from the buried groves of Street and San Antonio Avenue.13 It was described as one “of the Lemuria. quaintest and most attractive studies in Carmel . . . . built of gray cement Miss Curtis has opened her atelier at the Sherwood with the woodwork of bright blue, the outside staircase leading to the Studios, where William Ritschel and many other distinguished spacious flat roof” with panoramic views of the valley and sea.14 She was colleagues have had their headquarters. She will probably not return an active supporter of the Carmel Arts and Crafts Club and contributed to to Carmel before the summer. its Annual and special exhibitions between 1919 and 1921.15 At the In 1923 she won the landscape prize at New York City’s Catherine Lorillard Fourteenth Annual of 1920 she exhibited three paintings: The Village Wolfe Art Club.31 Church, Sunshine on Point Lobos and When the World Looks Fair. Visitors Curtis returned to Carmel by June of 1925 and maintained an to this exhibit voted the latter two works among the top twenty canvases.16 active social life with her attendance at teas, dinners and receptions for In her review for the Carmel Pine Cone Jessie Fremont Herring reported on exhibitions.32 In February of 1926 her work received a one-man exhibit at her canvas The Village Church: “one felt not only the heights attained by Pasadena’s Carmelita Garden House.33 The Pine Cone published a review the master builder Wren, but an ethical adjustment of color suggesting the of this show, an interview with Curtis and a reproduction of her work, In trinity of antiquity.”17 A year later at that event Curtis contributed The High Places.34 Ravine and Early Morning on the Cornfield. The Pine Cone referred to the A certain versatility of idea, coupled with a definite latter as “bright and golden, filled with the purple shadows which she loves simplicity of theme marks the paintings of I. Maynard Curtis, Carmel to paint from her studio roof garden” and noted that her “interesting figure artist. Miss Curtis chooses for her subjects a variety of material – the pictures always endeavor to catch the glory of sunlight.”18 In June of 1921 ocean, both the Pacific and Atlantic, New England village scenes, she displayed five pictures at the Exhibition of Carmel Artists at the landscapes and mountain views, but through it all achieves a lovely Stanford University Art Gallery, including Pine Trees in the Fog and simplicity. “In High Places” . . . expresses that to a full degree. This Triptych of Point Lobos.19 Curtis attended receptions for the art community painting was exhibited at the Carmelita Garden House in Pasadena in the San Francisco Bay Area.20 Her professional debut in southern last February, with other of her works. California consisted of back-to-back solo exhibitions at the O’Hara and “A painting is very much like a musical composition,” says Livermore Gallery in Pasadena and the Woman’s Club of Hollywood Miss Curtis, “in that it carries one dominant theme; an interlude or between February and March of 1920.21 Antony Anderson, art critic for the one subordinate, with variations and then another repetition of the Los Angeles Times, noted:22 original theme.” This idea is carried out noticeably in a canvas of the Living and painting in California for several years, Miss Atlantic. . . . Curtis has become enamored of our glorious sunlight, and there is “There are very deep principles in painting. If these are hardly a picture in this collection of twenty-two that is not steeped in grasped, a certain simplicity is shown in the finished product. It is it. She finds it bright and golden, scarring with a vivid beauty the bound to come if any main idea at all is carried out in the painting,” richly purple shadows that she loves to paint. Almost all of her said Miss Curtis in describing her work. subjects are happily lyrical. “All the arts are so closely related to each other that it is The technique of these landscapes is very free, the paint difficult to take any one separately. A theme of music is found in a being sometimes dragged, sometimes placed with a full brush in painting, in a piece of writing, either poetry or prose.” This is the spots of clean color that are full of accent. Often the highest lights basic idea that Miss Curtis employs. are rather chalky, the result of a too strenuous effort to raise the key Between June of 1926 and August of 1927 she was a contributor to the to its highest pitch. Paint is pretty limited in comparison with light, general shows at the private Carmel Art Gallery where her displayed works and it is generally the part of wisdom to take note of its limitations. included: Redwoods, A Street in Old St. George, Sand Dunes with a view Still, to have really tried to paint the out-of-doors is in itself a sort of of Point Lobos in the distance and “a striking scene of a New York success. skyscraper viewed from a hotel window . . . . an unusually beautiful effect In “Sand Dunes of Carmel” the dunes are very steep, with brilliant colors softened by the hazy smoke of a large city. Although gemmed with bunches of colorful weeds, and a keenly blue sky her painting deals with a commercial and mechanical thing, her view point 368 in the painting is entirely idealistic.”35 During late October of 1926 at Kay’s made a pattern of beach umbrellas and brightly dressed loungers, like Tea Room in Carmel she staged a small solo show of her paintings which beads strung loosely on a silver chain of Carmel beach.”69 Three months included a “softer” view of Point Lobos, a dignified study of the First later at the CAA Miller said that her “Mystery at High Noon has a good Presbyterian Church in Provincetown as well as several street scenes and feeling, a truly eerie quality in the dark brooding outlines of buildings dimly rustic villages.36 Two months later she was one of three Carmel artists with seen through the slim boles and delicate foliage of young trees.”70 For the a canvas at the First Annual Exhibition of Pacific Coast Artists in the July show at that venue she submitted an “interesting” composition of Artland Club of Los Angeles; her contribution was entitled Chimes of a hollyhocks.71 For the CAA in November of 1936 Miller noted that her Great City.37 In 1927 she spent part of the summer painting in Shasta Banana Palm was “an exotic flower, highly colored, at the end of a County.38 She was an early member of the Carmel Art Association (CAA) drooping frond, both subject matter and treatment of unusual interest.”72 At and a regular exhibitor into the 1950s.39 She served as the first secretary the CAA in January of 1937 Miller stated:73 of the CAA in 1927-28 and was a member of the board of directors in 1931- In Ida Maynard Curtis’ “Early Morning,” the sun is already 32.40 In January of 1928 she exhibited her painting Chimes of a Great City doing something interesting to the up-canyon rocks, while the at the Exhibition of California Artists in the Pasadena Art Institute.41 The foreground, in soft shadow, is all preoccupied with the tantalizing lure following month Pasadena’s Grace Nicholson Gallery staged a solo show of a snaky, little-used road. California foothills of the more rugged of her work which Arthur Millier of the Los Angeles Times called “fresh:”42 and character full sort. . . . . Mt. Shasta is seen to raise its white crest, the scene That July Virginia Scardigli, art critic for The Carmel Cymbal, observed at suffused in evening light, into a blue California sky. Mt. Lassen and the CAA Gallery that Curtis’ landscape, Above the San Lorenzo, “suffers in Castle Crags stand above blue lakes. The mountain pictures are the strong light of the hanging. The picture would show off much better on varied by atmospheric paintings of figures in gardens, an old New a dark wall which would allow her highlights to stand out as lights rather England church, a portrait of a child or lady. A large richly painted than blobs of paint.”74 A month later at that venue Scardigli complained blue inlet at Carmel, overhung by twisted cypress, deepens the color that her canvas, Thistles, “looks as though she had used one of them to of the exhibit. paint the picture.”75 In October of 1937 Curtis’ work was included in the Also that February she re-exhibited Chimes of a Great City at the First CAA Members’ Exhibition at the Stanford University Art Gallery.76 At the Annual State-wide Exhibition in Santa Cruz.43 Alberta Spratt, artist and art CAA Gallery that December Scardigli characterized her painting Wharves critic for The Carmelite, said of this canvas: “a subject well-handled, clean “as the best thing she has ever shown in the Gallery that I remember.”77 in color and with quite a modern feeling.”44 In March of 1928 she again Curtis exhibited (or re-exhibited) at the CAA Gallery between 1936 and displayed this painting as well as the canvas Old Saint George at the 1942 the following titles: Fire Fly in January of 1936; Little French Village in Fourth Exhibition of the CAA.45 March of 1937; Thrill of the Tropics in August of 1938; San Francisco in In January of 1929 the Berkeley League of Fine Arts hung her February of 1939; Rhythm of the Shore in September of 1939; River Road oil, Carmel Valley, in the City Hall of Berkeley.46 That same month at the and Fisherman’s Wharf in January of 1940; and Autumn on the Hills in May CAA’s Ninth Exhibition Curtis’ Provincetown Roses was praised as her of 1942.78 In the fall of 1939 she joined a group of Carmel-area artists, “best canvas” for its “nice effect of summer sunlight on a white fence and which included Armin Hansen, Paul Whitman, Gene McComas and Paul dimity curtained cottage.”47 For the CAA show in March The Carmelite Dougherty, at the Carmel Art Institute for drawing classes with live reported that she submitted “a little Japanese girl of a good deal of subtlety models.79 Eleanor Minturn-James was delighted with Ida’s “sunny, white” and whimsicality.”48 This painting, entitled Fire Fly, was praised in the Pine New England Church at the February 1941 CAA show.80 Cone for its “resplendent kimono . . . . [and] the lovely expression on the In 1940 she was preparing for a major one-man exhibition at little maid’s face;” Ida also exhibited A Valley Oak.49 During the early the Stendahl Galleries in Los Angeles.81 Elizabeth Paine interviewed Curtis summer she studied in the Department of Art at U.C. Berkeley with Ray for the Pine Cone in October of 1941 and reproduced her Rugged Boynton and then traveled to Maine; she returned to Carmel in the early fall Cypress:82 of 1929.50 In March of 1930 the Los Angeles Times reviewed her paintings Twenty-two years ago a small woman with a strong at the Carmelita Garden House in the Pasadena Art Institute:51 purpose came to Carmel to paint. There is some very good painting in the exhibit by I. She is typical of the artists of the old Carmel colony, this Maynard Curtis. She paints light with a knowing and charming use of white-haired, bright-eyed Ida Maynard Curtis, who paints every day color in sun and shade, sometimes with a delicate procession of and who still, after 22 years, finds new inspiration in the Carmel values back into the picture as in “Beyond the Fence,” sometimes in landscape. full sun as in the French village above the sea or the delightful “Way Miss Curtis, representing all that is finest and most Down South in Dixie,” an exceptionally pleasing picture of leisurely generous in the true artist and perhaps remembering her early years, Southern life under spreading trees. graciously and willingly holds out a helping hand to the beginner of Other fine things are here. A sterling composition of today. rugged California oaks (No.31), a beautifully lighted interior with She herself is at present exhibiting in New York, San flowers and a scene on a porch with good distribution of light and Diego and Los Angeles. She has held many a one-man show on shade. Her Sierra pictures capture much of the height and silence of both coasts. In Paris once she was invited to exhibit, too, but the day the region. An interesting self-portrait of the artist is included in the she had expected to take her pictures to the gallery – the last day – showing. she fainted dead away for the first time in her life and the pictures This exhibit also had her scenes from Provincetown, Point Lobos and never got there. . . . Carmel Valley.52 Later that spring she contributed to the reopening of the Miss Curtis has painted from Norway to Tangier and private Carmel Art Gallery three works: Cascade Crags, Smoke Trees and throughout this country and yet she finds Carmel embodies more Where the Gods Dwell.53 At the Thirteenth Exhibition of the CAA in July of kinds of beauty – ocean, woods, peaceful valley, swamps, than any 1930 she displayed: A French Village, Across the Poppy-fields and other spot. Dancing Oaks.54 Late that October she lectured to the members of the In 1942 she contributed her paintings to the American Artists’ Professional CAA on the plans to foster art studies at Carmel’s Sunset School.55 In League “traveling exhibition” which appeared at Berkeley’s Claremont Hotel February of 1931 her work again appeared at the State-wide Annual in that April.83 The same organization sent a similar exhibit with Curtis’ work Santa Cruz.56 At the CAA’s Fourteenth Exhibition in June her canvas A to the Carmel Art Gallery in September of 1946.84 Her work was included French Village was re-exhibited.57 That October she exhibited a portrait of in the exhibition at Carmel’s USO-Artists’ Ball in November of 1944.85 For a Japanese girl, Hanaka, at the Monterey County Fair.58 A month later at the December 1946 CAA Exhibition she displayed a Portrait and An La Ribera she displayed Hanaka and La Rambla, a tropical scene of Interior.86 At the CAA show in December of 1948 Mary M. Riddle, art critic “sunlight playing over the shredded edges of the blueness and the for the Pine Cone, declared that her Plum Blossoms “manages to be grayness of banana tree leaves.”59 Also in November of 1931 she decorative yet free.”87 In the fall of 1948 for the Third Annual Exhibition of contributed to a show of local artists at the Sunset School.60 The following American Art Week on the Monterey Peninsula her paintings were shown June at the CAA’s Seventeenth Exhibition she displayed A Spring Sketch.61 at the Monte Vista Park Model Homes.88 A year later at the Fourth Annual Curtis exhibited at the California State Fair in 1932 and 1933.62 At the of that event her work was displayed in The First National Bank of Pacific 1933 spring Annual of the Oakland Art Gallery she offered “a scene of the Grove and her oil North End of Lobos Point was reproduced in the art local [Carmel] beach.”63 supplement of the Monterey Peninsula Herald.89 In 1953 the Herald In January of 1934 she donated a painting to the exhibition- reproduced her somewhat enigmatic self-portrait.90 Curtis was an raffle in support of the CAA Gallery.64 That May the Pine Cone named her, exhibiting member of the: National Arts Club in New York City between along with Mary DeNeale Morgan and Jennie V. Cannon, one of the 1928 and 1946, Provincetown Art Association of Massachusetts, San “Twelve Women Who Have Helped Immortalize Carmel” as a center for the Diego Art Association, Laguna Beach Art Association, California Art Club in arts.65 Curtis attended the 1934 members’ meeting of the CAA and voted 1937 and Allied Artists of America from 1941 to 1946.91 At the March 1955 for incorporation.66 At the CAA Gallery in February of 1935 her “Japanese CAA exhibition her canvas entitled In the Trees on Point Lobos was figure beside a rich drapery, glimpsing a sun-filled patio” was declared summarized thus: “the light falling through ragged branches reveals color “highly decorative, warmly colorful.”67 Thelma B. Miller, art critic for the on the dunes wherever it falls.”92 In 1956 she was honored by the CAA Pine Cone, observed at that venue four months later that Curtis gave her with a “gala reception” and solo exhibition of her landscapes and portraits.93 study of Point Lobos “a rather unfamiliar delicacy by a spray of what Miss Curtis died in Carmel on January 28, 1959 at the age of ninety-nine.94 appears to be fruit blossoms;” her Chimes of a Great City held the place of Memorial services were held in the Church of the Wayfarer and she was honor at that exhibit.68 Miller characterized her work at the CAA’s buried in Monterey. Exhibition in March of 1936 thus: “Ida Maynard Curtis’ Rhythm of the Shore ENDNOTES FOR CURTIS: 1. U.S. Census of 1870 [ED Ward 2, Sheet 13]. / 2. has a vibrant gaiety of color, delicate rather than intense, and she has U.S. Census of 1880 [ED 772, Sheet 28]. / 3. NYT, June 1, 1883, p.1. / 4. CPC, 369

October 31, 1941, p.14. / 5. U.S. Passport Application No.18763, issued on June 26, time he listed his occupation as “artist, landscape.” The Wasp, a prominent 1890 in Boston. / 6. Boston Daily Globe, September 2, 1903, p.19; U.S. Passport San Francisco weekly, ranked him in 1930 as “as an eminent interpreter of Application No.55843, issued on June 8, 1908 in Boston; U.S. Passport Application Nature” and reproduced his canvas, An Old Adobe at Monterey along with No.44139, issued on November 16, 1914 in Boston. / 7. CPC: October 31, 1941, p.14; 10 February 5, 1959, p.13; cf., CRM, June 11, 1931, p.2; CPC, November 20, 1931, p.7; a photo of the artist at work. MPH: November 1, 1946, p.A-11; October 31, 1947, p.A-19. / 8. U.S. Census of 1900 His paintings were exhibited at the Annuals of the Carmel Arts [ED 1549, Sheet 3B]. / 9. Boston Daily Globe, November 10, 1886, p.6 / 10. TOT, and Crafts Club in 1920, 1921 and 1923.11 In 1920 he displayed a canvas August 14, 1905, p.15; Colorado Springs Gazette, June 26, 1911, p.5; AAA 16, 1919, entitled Sand Verbenas, a year later Dunes in Blossom Time, and in 1923 p.347. / 11. CVRI, Monterey County: 1920, 1928, 1930, 1936. / 12. U.S. Census of Along the Shore and Foggy Day on the Dunes. At the 1920 Annual his 1920 [ED 15, Sheet 6B]; CPC, July 8, 1920, p.4. / 13. BDG, October 29, 1921, p.6; entry was voted by the visiting public one of the twenty-five best CPC: December 15, 1921, p.11; May 4, 1934, p.12; Perry/Polk: 1930, pp.428, 531; 12 1939, p.400; 1941, p.446; AAA 28, 1931, p.501. / 14. CPC, September 1, 1921, p.6. / paintings. In addition to the Pacific Coast, he frequently painted in the 15. Appendix 2. / 16. CPC, September 9, 1920, p.3. / 17. CPC, August 20, 1920, p.3. national parks of the western United States. In August of 1921 he / 18. CPC, September 1, 1921, p.6. / 19. Catalogue of the Exhibition; DPT, June 3, contributed several “Monterey sand dune studies” to the Rabjohn & 1921, p.8. / 20. CPC, October 13, 1921, p.8. / 21. CPC, February 12, 1920, p.1. / Morcom Gallery and the Helgesen Gallery, both in San Francisco.13 22. LAT, February 29, 1920, p.3-2. / 23. CPC: February 24, 1921, p.2; March 24, 1921, Between 1921 and 1932 his paintings periodically appeared at the p.5. / 24. CPC, February 23, 1922, p.10. / 25. AAA 20, 1923, 489; Bostick, p.58; California State Fair where in 1926 he exhibited The Eternal Hills in CRM, June 11, 1931, p.2. / 26. CPC, May 25, 1922, p.4. / 27. BDG, December 2, 14 1922, p.5. / 28. CPC, April 27, 1922, p.10; June 18, 1926, p.11; AAG, July 1925, p.8; Morning Sunlight Splendor and The Old Mountain Road. His landscapes SFC, October 3, 1926, p.5-F. / 29. SFC, March 4, 1923, p.4-D; CPC, March 10, 1923, were given a solo exhibitions at the Stanford University Art Gallery in p.2. / 30. CPC, February 3, 1923, p.1. / 31. CPC, November 10, 1923,p.8. / 32. November of 1925 and April of 1928.15 At the former he displayed forty of CPC: July 4, 1925, p.1; June 18, 1926, p.11; February 1, 1929, p.4; March 29, 1929, his canvases from the Columbia River, Mount Hood, Mount Shasta and p.17; July 10, 1931, p.14; October 4, 1935, p.10. / 33. CPC, February 20, 1926, p.12. / Santa Cruz Mountains as well as sand dunes, gardens and seascapes 34. CPC, June 18, 1926, p.11. / 35. CPC: June 25, 1926, p.11; December 24, 1926, from Carmel, Point Lobos, Pacific Grove and Monterey.16 At the latter his p.11; August 19, 1927, p.6; CCY, February 9, 1927, p.1. / 36. CPC, October 22, 1926, p.11. / 37. CCY, December 15, 1926, pp.4, 7; CPC, December 24, 1926, p.11. / 38. thirty-six “picturesque and expressive” paintings had such titles as: The Woodland Daily Democrat (California), July 2, 1927, p.4; CPC, September 23, 1927, Gateway of Yosemite, The Glory of the Morning, Ramona’s Marriage Place p.14. / 39. Citations that have the titles of her submissions and any significant and Sunrise.17 He also contributed to several general shows at the commentaries are inserted in the body of the text; the following references provide Stanford University Art Gallery from 1925 through 1939. In December of some of the dates when she exhibited at the CAA: Appendix 4; CSN, April 19, 1934, 1926 his work was displayed at an exhibition sponsored by the San Jose p.4; CPC: June 22, 1934, p.5; November 8, 1935, p.4; November 12, 1937, p.7; Art History Club and the State Teachers College.18 He had commercial December 10, 1937, p.7; May 7, 1943, p.3; August 13, 1943, p.12; July 21, 1944, p.3; November 17, 1944, p.1; October 19, 1945, p.2; February 22, 1946, p.5; March 1, 1946, success in reproducing his paintings on postcards and as illustrations for p.6; April 26, 1946, p.9; June 28, 1946, p.9; August 9, 1946, p.7; February 7, 1947, p.5; the San Francisco New Letter.19 In addition, his work appeared in two of April 11, 1947, p.5; November 7, 1947, p.5; February 27, 1948, p.6; August 6, 1948, the Jury-free Exhibitions at the Oakland Art Gallery in 1929 and 1932.20 He p.5; CRN, July 7, 1937, p.8; CCY: August 5, 1938, p.2; February 10, 1939, p.10; exhibited in the State-wide Annuals and local shows of the Santa Cruz Art October 13, 1939, p.10. / 40. AAA 24, 1927, p.57; CPC: August 26, 1927, p.6; League in 1934, 1937 and 1943.21 He contributed to the Carmel Art September 30, 1927, p.5; October 7, 1927, p.12; October 21, 1927, p.5; December 14, Association exhibition in July of 1939.22 His work was exhibited in the fall 1928, p.12; July 10, 1931, p.16; MPH, August 27, 1927, p.6; CRM: July 9, 1931, p.1; 23 September 15, 1932, p.2. / 41. CPC, January 27, 1928, p.5. / 42. LAT, February 12, of 1940 at the Monterey County Fair. Francis Cutting died on June 8, 1928, p.3-16; cf., CPC: January 14, 1927, p.4; February 25, 1927, p.4; CCY, February 1964 in Santa Clara County.24 23, 1927, p.4. / 43. Catalogue, First Annual State-wide Art Exhibit of Paintings, Santa ENDNOTES FOR CUTTING: 1. U.S. Census of 1880 [ED 245, Sheet 1]. / 2. Cruz Art League, February 1-15, 1928, p.5. / 44. CRM, February 15, 1928, p.7. / 45. TWP, December 20-27, 1930, p.20. / 3. DPT, October 30, 1925, p.4. / 4. U.S. Census CRM, March 7, 1928, p.7; CPC, March 9, 1928, p.7. / 46. BDG, January 24, 1929, p.6. of 1900 [ED 76, Sheet 19B]. / 5. U.S. Census of 1910 [ED 67, Sheet 24A]. / 6. / 47. CPC, January 11, 1929, p.3. / 48. CRM, March 6, 1929, p.11. / 49. CPC, March WWDR, No.2712-693, 1917. / 7. U.S. Census of 1920 [ED 156, Sheet 5A]. / 8. TWP, 15, 1929, p.6. / 50. CPC: June 21, 1929, p.14; September 20, 1929, p.14. / 51. LAT, December 20-27, 1930, pp.20, 83. / 9. MPH, June 5, 1925, p.2; U.S. Census of 1930 March 23, 1930, p.3-16. / 52. CPC, February 28, 1930, p.15. / 53. CRM: May 1, 1930, [ED 43-4, Sheet 9A]. / 10. TWP, December 20-27, 1930, pp.20, 22. / 11. Appendix 2. p.12; June 12, 1930, p.6; CPC, May 2, 1930, p.5; SFC, May 18, 1930, p.D-5. / 54. / 12. CPC, September 9, 1920, p.3. / 13. CPC, August 25, 1921, p.6; SFC, August 28, CRM, July 24, 1930, p.7. / 55. CPC, October 31, 1930, p.4. / 56. TOT, February 8, 1921, p.E-3. / 14. DPT, September 1, 1921, p.8; TOT, September 2, 1922, p.12; 1931, p.S-7. / 57. CRM: June 3, 1931, p.2; June 8, 1931, p.3. / 58. CPC: October 9, Catalogue, Annual Exhibition of Paintings, California State Fair, September 4-11, 1926. 1931, p.8; October 23, 1931, p.7. / 59. CPC, November 6, 1931, p.11. / 60. CPC, / 15. TOT, November 1, 1925, p.S-6; MPH, April 9, 1928, p.2. / 16. DPT, October 30, November 13, 1931, p.8. / 61. CRM, June 23, 1932, p.3. / 62. CPC: August 26, 1932, 1925, p.4. / 17. SFC, April 8, 1928, p.D-7. / 18. CPC, December 31, 1926, p.11. / p.5; September 22, 1933, p.6. / 63. CPC, March 24, 1933, p.8. / 64. CSN, January 19. DPT, October 30, 1925, p.4. / 20. BDG, August 8, 1929, p.7; TOT, September 4, 11, 1934, p.1; CPC, February 23, 1934, p.1. / 65. CPC, May 4, 1934, p.12. / 66. CSP, 1932, p.8-S. / 21. TOT: April 8, 1934, p.12-S; February 7, 1943, p.B-3. / 22. CCY, March 31, 1949, p.8. / 67. CPC, February 8, 1935, p.8. / 68. CPC, June 7, 1935, July 7, 1939, p.3; CPC, July 28, 1939, p.11. / 23. CCY, October 4, 1940, p.7. / 24. p.10. / 69. CPC, March 20, 1936, p.6. / 70. CPC, June 12, 1936, p.9. / 71. CPC, July California Death Index; cf., Falk, p.806; Hughes, p.269; Jacobsen, p.771. 10, 1936, p.10. / 72. CPC, November 20, 1936, p.5. / 73. CPC, January 15, 1937, p.8. / 74. CCY, July 16, 1937, p.17; cf. CPC, July 16, 1937, p.13. / 75. CCY, August 13, 1937, p.7. / 76. CPC, October 29, 1937, p.1; TOT, October 31, 1937, p.S-5. / 77. CPC, December 17, 1937, p.4. / 78. CPC: January 17, 1936, p.5; March 19, 1937, p.6; August 26, 1938, p.14; February 17, 1939, p.2; September 29, 1939, p.3; January 12, 1940, p.2; May 22, 1942, p.3. / 79. CPC, October 20, 1939, p.13. / 80. CPC, February 28, 1941, p.10. / 81. CPC, February 9, 1940, p.12. / 82. CPC, October 31, 1941, p.14. / 83. TOT, April 26, 1942, p.B-7. / 84. CPC, September 13, 1946, p.6. / 85. CPC, November 10, 1944, p.10. / 86. CPC, December 6, 1946, p.9. / 87. CPC, December 3, 1948, p.5. / 88. MPH, October 29, 1948, p.A-1, A-14. / 89. MPH, October 31, 1949, pp.A-1, A-16. / 90. MPH, November 2, 1953, p.A-4. / 91. CRM, June 11, 1931, p.2; McGlauflin, p.108; Ball, p.159; MPH, November 1, 1946, p.A-11; Moure, p.B-45. / 92. CPC, May 10, 1955, pp.6f. / 93. MPH, October 29, 1960, p.A-3. / 94. California Death Index; CPC, February 5, 1959, p.13; cf., Kovinick, p.65; Falk, p.801; Jacobsen, p.766; Hughes, p.268; Wall Moure, p.148. FRANCIS (Frank) HARVEY CUTTING (1872-1964) was born on October 8th in Riceville, Iowa. In 1880 he resided on the family farm in Jamestown, Iowa.1 He reportedly learned “the rudiments of color harmony” from his mother.2 By the early 1890s his family had migrated to California and purchased an orchard in Campbell, Santa Clara County. In 1897 he graduated from the California State Normal School in nearby San Jose, became a teacher and later studied art at the University of the Pacific.3 According to the U.S. Census of 1900, Francis lived with his Massachusetts-born parents, Charles and Anna Cutting, three younger brothers and several farm hands.4 His profession was listed as “orchard laborer.” He married in 1904 and six years later continued to reside on the family farm as an “orchardist.”5 His official address was given as 385 Hamilton Avenue. On his 1917 draft registration card he was described as “self-employed” with dark hair and brown eyes.6 From the U.S. Census of 1920 we learn that his residence with his parents and brothers was unchanged; in addition to his wife, Clara, he had two sons, Francis Douglas and Theodore.7 At this time Francis H. Cutting listed his profession as “orchardist, family farm.” Shortly thereafter his father died and Francis retired with the proceeds from the sale of the commercial orchards. He traveled frequently to the Monterey Peninsula and about 1918 began to study art privately with William Adam, Charles H. Harmon and Charles B. Hudson.8 Later he received lessons with Arthur Hill Gilbert. Cutting briefly maintained a home in Pacific Grove on Alder Street, but his permanent residence and studio was in Campbell where he resided at 93 Harrison Street in 1930.9 In the U.S. Census of 1930 he was the designated “head- of-household” with his wife, two sons and mother in residence; for the first